“意象”与“深度意象”之辩:基于诗歌理论与创作实践  

A Comparison Study of Imagism and Deep Imagism from Poetic Theory and Creating Practice

作　　者：尹根德[1] 阮小娟[2] 

机构地区：[1]井冈山大学外国语学院,江西吉安343009 [2]井冈山大学体育学院,江西吉安343009

出　　处：《井冈山大学学报（社会科学版）》2014年第6期121-125,共5页Journal of Jinggangshan University(Social Sciences)

基　　金：国家社科基金项目"美国新超现实主义诗歌诗学研究"(项目编号:13BWW053);教育部人文社科项目"美国深度意象派诗歌研究"(项目编号:12YJA752034);江西省社科规划项目"美国深度意象派诗歌的文化空间研究"(项目编号:11WX34)

摘　　要：意象派诗歌是美国现代诗歌的开路先锋,代表人物主要有:庞德、H.D.罗厄尔等。他们在对待诗歌"意象"上,主要强调意象和"意象并置"。20世纪五、六十年代,罗伯特·勃莱、詹姆斯·赖特等把意象派诗歌发展成深度意象派诗歌,无论是诗歌理论或是诗歌创作实践,他们在对待诗歌"意象"上与庞德的意象派诗歌有着一定的差异;他们也强调诗歌的意象,但认为深度意象是对无意识的开掘,强调意象的跳跃和比喻的转换。通过从定义和概念、哲学基础、文化来源以及创作实践四个方面的对比分析,可以看出意象派诗歌和深度意象派诗歌在"意象"处理上的差异。Imagism is the pioneer of American modern poetry, and Pound, H. D. and Amy Lowell are the representative poets. Towards image in the poetry, they stress the juxtaposition of images. In 1950 s and1960s, Robert Bly and James Wright developed Imagism into Deep Imagism. There exist differences and similarities between Imagism and Deep Imagism towards ＂ image＂ both in theory and practice. They also emphasize the image in poetry creation, and believe that deep image should be explored from unconsciousness,and stress the jumping of images and conversion of metaphors.In this paper, an analysis of the differences in the treatment of ＂ image＂ between Imagism and Deep Imagism from definition and concept, philosophical base, cultural resource, and creating practice.

关 键 词：意象 深度意象 诗歌理论 诗歌创作 

分 类 号：I06[文学—文学理论]