易卜生晚期戏剧的复象诗学  

The Polyimage Poetics in Ibsen’s Late Plays

作　　者：汪余礼[1] 

机构地区：[1]武汉大学艺术学系

出　　处：《外国文学研究》2013年第3期83-93,共11页Foreign Literature Studies

基　　金：国家社科基金青年项目"易卜生戏剧诗学研究"【项目批号:13CWW023】;教育部人文社会科学研究青年基金项目"易卜生私密文献翻译与研究"【项目批号:11YJC752020】阶段性成果;武汉大学70后学者学术发展计划支持项目"现代戏剧影视诗学研究"阶段性成果

摘　　要：经反复细读,可以发现易卜生晚期戏剧隐含了一种独特的复象诗学。所谓"复象",意指易卜生晚期戏剧在审美形式上的独特创构和审美效果上的高妙境界:楼外有楼,景深无穷;象外有象,境界层深。易卜生晚期的每一部优秀剧作,都不只是创造了一个意象世界,而是在多数读者可以感知的整体性的意象-世界背后,还隐蕴着一个或多个整体性的意象世界。而之所以出现这种情形,既有艺术本体论上的根据,也跟易卜生晚期的"双重自审"——灵魂自审与艺术自审——密切相关。尤其是"双重自审",不仅使易卜生晚期戏剧呈现出复象景观,而且使之达到了"元艺术"的境界。易卜生晚期戏剧隐含的复象诗学,较之巴赫金提出的、陀思妥耶夫斯基小说隐含的复调诗学,更切近现代艺术的本体,对于现代艺术创作亦颇具启发意义。The unique poetics of Polyimage implied in Ibsen＇s late plays can be found with aesthetic reading. The term ＂polyimage＂ is coined to describe Ibsen＇s original design of aesthetic form and ingenious realm of aesthetic reaction in his late plays, that is, beyond an imagery realm another imagery realm exists, which constructs a deep vision of significance. In each excellent late play, what Ibsen creates is a veiled holistic imagery realm or more in addition to an ordinary entire imagery realm perceived by most readers or audiences. The ＂layers of imagery realm＂ results from Ibsen＇s ＂double self-examinations＂, which involve self-examination of soul and that of art. It is ＂double self-examinations＂ that make polyimage possible in Ibsen＇s late plays and renders them a distinguishing quality of ＂meta-art＂. Compared with the polyphony in Dostoevsky＇s novels, Ibsen＇s polyimage in his late plays is closer to the ousia of modern art, and is also of great significance to modern artistic creation.

关 键 词：易卜生 复象诗学 双重自审 元艺术 

分 类 号：I533.073[文学—其他各国文学]