作为政治立场的艺术自治--奥维德《哀歌集》第二部解读  

Artistic Autonomy as a Political Stance:A Reading of Ovid’s Tristia 2

作　　者：李永毅[1] LI Yongyi

机构地区：[1]重庆大学语言认知及语言应用研究基地、外国语学院

出　　处：《国外文学》2020年第3期66-76,158,共12页Foreign Literatures

基　　金：2018年国家社科基金重大项目“拉丁语诗歌通史(多卷本)”(项目编号:18ZDA288)的阶段性成果。

摘　　要：古罗马诗人奥维德在遭到屋大维放逐后创作的《哀歌集》第二部是世界上最早的一篇艺术自治宣言。他用大量例证和归谬法证明,生活与艺术是彼此独立的领域,诗人有根据个人才能和性情选择题材的自由,读者也有解读作品的自由,统治者无权对作品进行道德审判。在奥古斯都时期的文化秩序中,奥维德远离政治的艺术自治观本身就是一种政治立场。置于西方古典诗歌演进的大框架中,奥维德的这首诗也表明,艺术与权力二者的关系进入了一个新阶段。The Roman poet Ovid’s Tristia 2,composed after his banishment by Octavian,was the earliest extant proclamation of artistic autonomy in the world.The poet argues,citing abundant precedents and employing the strategy of reductio ad absurdum,that life and art are two separate realms,that poets are free to choose subjects according to their talent and disposition,that readers can interpret works as they like,and,above all,that rulers are not entitled to moral censorship of literature.Set against the cultural order of the Augustan era,this advocacy of artistic autonomy,while showing an aversion from politics,was itself a political stance and therefore posed a serious threat to official guidelines.This work,viewed in the framework of the evolution of Western classical poetry,also marked a new phase in the interrelationship between art and power.

关 键 词：古罗马诗歌 道德 政治 权力 意识形态 

分 类 号：I546.072[文学—其他各国文学]