“中国景观”的发现与变奏——现代性语境中的波德莱尔与中国  

Discovery of the “Chinese Landscape” and Its Variations--Baudelaire and China in the Context of Modernity

作　　者：杜心源[1] DU Xinyuan

机构地区：[1]华东师范大学中文系外国文学与比较文学研究所,上海200062

出　　处：《思想战线》2021年第6期107-116,共10页Thinking

基　　金：国家社会科学基金项目“19世纪中法文学交流史研究”阶段性成果(19BZW104)。

摘　　要：波德莱尔作品中的中国意象,带有独特的诗意,来自于他现代性体验的极致化。同时,中国意象和其他诗性意象结合在一起,彰显了波氏在现代时间的碎片中重建某种整体秩序的努力。而在中国方面,波氏对20世纪20年代到30年代的中国新诗有着重要的影响,这在戴望舒那里体现为对波氏的官能化符号进行的朦胧化和抽象化处理,而在卞之琳那里,则蕴含了现代性的机械时间中个体情感家园的毁灭,以及由此产生的对乡土文明的追忆。Chinese imagery in Baudelaire’s poems features a kind of sick beauty that stems from his paranoid pursuit of the grotesque stimulated by his experience of modern life.In his poetry,the juxtaposition of Chinese poetry with God and feminine imagery bespeaks his attempts to reconstruct some kind of overall order beyond the fragments of modern times.In China,Baudelaire exerted an important influence on the modern Chinese poetry in the 1920s and the 1930s.In one poem by Dai Wangshu,for instance,Baudelaire’s love for the sensuous finds expression in Dai’s images of the ambiguous and the abstract.While in some of Bian Zhilin’s poems,Baudelaire’s favorite imagery is translated into the destruction of an individual’s spiritual home and a nostalgia for what is lost of the rustic and agrarian past.

关 键 词：现代性 波德莱尔 中国意象 中国新诗 

分 类 号：I106[文学—世界文学]