兰波与中国象征主义  

Arthur Rimbaud and Symbolism in China

作　　者：李建英[1] 

机构地区：[1]上海师范大学,上海200234

出　　处：《中国比较文学》2013年第3期71-82,共12页Comparative Literature in China

基　　金：上海市教委社科基金项目"法国诗人兰波研究"阶段性成果;项目编号:B-7037-12-000012

摘　　要：1920年代兰波作为象征主义诗人被引入中国,然而我国学界却不太认同象征主义的基本创作原则与兰波有直接的联系,而仅仅将他看作运用色彩的高手。实际上,被视为"象征之道"的应和论滥觞于波德莱尔,发扬光大于兰波,通灵论是对应和论的重大发展,它认为诗歌的终极目的是探索宇宙奥秘。当时影响全面认识兰波的原因,一方面是受时代、文化、审美机制等各种因素的制约,另一方面中国接受者不认同他的诗歌革命方式,因此也不接受他的革命内容。Arthur Rimbaud as a symbolist poet was introduced to China in 1920＇s, but Chinese academia did not think that there is any direct relationship between symbolist prin- ciples and Rimbaud himself, and regarded him merely as a master of colors. Actually cor- respondence as the symbolist basic was raised by Baudelaire, and developed by Rimbaud with his theory of voyant, which holds that the ultimate purpose of poetry is to search the secrets of the universe. Rimbaud＇s reception was limited by contemporary culture and aes- thetics in China, and shaped by the fact that Chinese refused his revolutionary content be- cause they did not accept his revolutionary style of poetry.

关 键 词：兰波 诗学 中国象征主义 

分 类 号：I565.072[文学—其他各国文学]