没有未来的未来主义:波菊尼与乔伊斯比较研究  

Futurism without a future:a comparative study between Boccioni and Joyce

作　　者：赫云[1] 

机构地区：[1]东南大学艺术学院,江苏南京210096

出　　处：《东南大学学报（哲学社会科学版）》2014年第1期82-85,132-133,共4页Journal of Southeast University(Philosophy and Social Science)

基　　金：2011年度教育部人文社会科学研究青年基金项目(11YJC752006)成果之一

摘　　要：当爱因斯坦相对论风靡整个欧洲时,艺术家也各自为营,试图打破传统的时间与空间、视觉与听觉等绝对界限,创造一种全新的艺术观念。未来主义便是探索这一新的艺术观念的积极开创者和实践者。波菊尼在绘画和雕塑方面的创新,以及乔伊斯在《尤利西斯》中对未来主义手法的运用,都说明未来主义在现代艺术运动中是有一定贡献的。但由于未来主义的求新、求变,只注重对机器、动力和现代工业的表现,并极力宣扬暴力和战争,因此,当第一次世界大战爆发时,未来主义便在自己倡导的革命主张中断送了自己。The prevalence of Einstein's theory of relativity gave an impetus to European artists.They tried to conceive a brand-new artistic concept by breaking the boundary between time and space,or sight and hearing.Futurism was considered a pioneer andpractitioner in this wave.Boccioni's innovation in painting and sculpture as well as Joyce's manipulation of futurism techniques in Ulysses proved that futurism made due contribution to modern art movement.However,futurism's innovation was exclusive to machines,motor and modern industry,and they preached up violence and war.As a consequence,futurism came to an end soon after the First World War broke out.

关 键 词：未来主义 波菊尼 乔伊斯 《尤利西斯》 

分 类 号：J205[艺术—美术] I562.074[文学—其他各国文学]