从享乐到悲哀:王尔德唯美艺术的双重表达  

From Pleasure to Sorrow:On the Double Manifestations of Wilde's Aestheticism

作　　者：刘茂生[1,2] 程小玲[1] 

机构地区：[1]江西师范大学外语学院 [2]浙江大学外语学院

出　　处：《外国文学研究》2011年第4期92-98,共7页Foreign Literature Studies

基　　金：国家社科基金项目"艺术与道德的冲突与融合:王尔德创作研究"【项目编号:08BWW004】的阶段性成果

摘　　要：王尔德一生有两大关键点,一是进入牛津大学,一是入狱。牛津大学培养了他的唯美主义人生观、艺术观,监狱则加深了他对唯美主义的思考。入狱前,王尔德高举"为艺术而艺术"的唯美主义大旗,因此他的作品《道连·葛雷的画像》和《莎乐美》都深刻地凸显了王尔德的这一艺术主张,是其唯美主义的代言之作。然而,王尔德从来就不是绝对的唯美主义者,在他的唯美主义大旗下也蛰伏着现实主义道德原则,而其现实主义的道德原则从其狱中书信集《从深处》发出穿云裂石之声,即悲哀是人生的真理,是艺术的中心。王尔德的艺术主张已在悄然发生着转变,享乐是唯美主义现实道德的最直接体现,而悲哀也是唯美主义另一种更深层次、更丰富的美学表达形式。本文通过解读《莎乐美》和《从深处》,揭示了王尔德的创作中唯美享乐的现实主义道德原则和悲哀现实中的唯美主义原则,即王尔德唯美艺术的两面性和不确定性。There were two great turning points in Oscar Wilde＇s life：the time when his father sent him to Oxford and the time when society sent him to prison.Oxford was a place for him to nurture his aestheticism and outlook on life while prison was a place for him to change his aesthetic values and philosophy.Before he went to jail,Wilde advocated ＂art for art＇s sake＂,so his works represented by The Picture of Dorian Gray and Salome were written to keep with the doctrine.However,Wilde was never a dogged aesthete;his moral reality hidden under the surface of aestheticism gave a shattering utterance from his letters of prison De Profundis.In De Profundis,Wilde showed that sorrow was the truth of life and the center of art.However,Wilde＇s literary practice underwent some inconceivable changes：sorrow was more profound and diversified in his aesthetic expression than pleasure which was the most direct reflection of moral reality in aestheticism.Through textual study of Salome and De Profundis,the paper not only reveals moral reality in Wilde＇s hedonistic aestheticism but also uncovers aesthetic essence in Wilde＇s sorrow realism in order to justify the ambivalence and indeterminacy of Wilde＇s literary practice.

关 键 词：《莎乐美》 《从深处》 唯美主义 享乐与悲哀 

分 类 号：I561[文学—其他各国文学]