论英美意象派诗歌对视觉艺术的汲取与整合  

Derivation and Integration of Anglo-American Imagist Poetry from Visual Arts

作　　者：梁晶 LIANG Jing(School of Foreign Languages,Shanghai Institute of Technology,Shanghai 310018,China)

机构地区：[1]上海应用技术大学外国语学院,上海310018

出　　处：《上海交通大学学报（哲学社会科学版）》2020年第4期138-146,共9页Journal of Shanghai Jiao tong University(Philosophy and Social Sciences)

基　　金：浙江省哲学社会科学规划课题“英美意象派视觉艺术特质研究”(17NDJC304YB);上海应用技术大学引进人才科研启动项目(YJ2020-9)。

摘　　要：视觉图像性是英美意象派诗歌的重要特质,这与同时期视觉艺术的变革与影响息息相关。本文尝试从现代派绘画、雕塑、摄影、电影等视觉艺术的表现角度入手,考察英美意象派诗人是如何汲取并整合这些视觉艺术媒介的全新话语元素,进而丰富其视觉意象的指涉与"呈现"。正是绘画、雕塑、摄影、电影等多种视觉艺术媒介在诗歌中的碰撞交融,意象派诗歌方得以构筑其全新而独特的视觉特质,最终在上世纪初的英美诗坛上异军突起,成为引领新诗运动的"龙头",也为其后的英美诗歌走向奠定了明朗而坚实的基调。Being the crucial quality of Anglo-American imagist poetry, visual iconicity is closely associated with, and profoundly influenced by the revolution of contemporaneous visual arts. This paper attempts, from the perspective of the idiosyncrasy of Western Modernist arts including painting, sculpture, photography and cinema, to explore how the Anglo-American imagist poets derive and integrate the new elements from these arts to enrich the reference and "presentation" of the visual imagery in their poetry. It is the collision and blend of those multiple modernist arts that the imagist poetry constructs its thorough and unique "newness" and consequently becomes the leading figure in the 20 th century, laying the solid foundation for the subsequent poetic development.

关 键 词：英美意象派诗歌 视觉“呈现” 视觉艺术 跨艺术研究 

分 类 号：I106.2[文学—世界文学] J05[艺术—艺术理论]