在“丑”中寻找诗情画意--波德莱尔和劳特累克作品互文性解读  

Seeking Poetic and Artistic Beauty in“Ugliness”:An Intertextual Interpretation of Baudelaire’s and Lautrec’s Works

作　　者：王芳[1] WANG Fang

机构地区：[1]北京师范大学(珠海校区)外语教育与教师发展研究中心,广东珠海519000

出　　处：《广东外语外贸大学学报》2020年第6期50-58,154,共10页Journal of Guangdong University of Foreign Studies

摘　　要：具有开放性特征的互文性理论十分重视文学与非文学之间的关系,其研究范围可以延伸到文学与其他艺术门类之间关系的研究,故可解读十九世纪法国象征派诗人波德莱尔和后印象派画家劳特累克作品的互文关系。两位大师虽生活在不同年代,却有着相似的生活经历;他们同为巴黎的漫游者和观察家,不约而同地将巴黎作为创作背景;他们还有着类似的审美趣味,将丑作为灵感的来源,将城市边缘人作为作品的意象。这种跨时空、跨领域的应和为文学和非文学形式的互文性阐释提供了理想的范本。The intertextuality theory attaches great importance to the relationship between literature and non-literature,and its research scope can be extended to that of the relationship between literature and other categories of art.This paper attempts to interpret the intertextuality between the works of Charles Baudelaire,the French symbolist poet,and Toulouse-Lautrec,the post-impressionist painter.Although the two masters lived in different years of the 19th century,they had similar life experiences.They are both wanderers and observers of Paris,take Paris as the background of their creation,and they have a similar aesthetic taste,using ugliness as a source of inspiration and people on the edge of the city as images of their works.This cross-temporal and cross-field response provides an ideal model for the intertextual interpretation of literary and non-literary forms.

关 键 词：波德莱尔 劳特累克 互文性 审丑 

分 类 号：B83[哲学宗教—美学]