论法国自然主义与象征主义文学的共通性  

On the Similarity between French Naturalism and Symbolism

作　　者：李国辉[1] Li Guohui(School of Humanities,Taizhou University,Linhai 317000,China)

机构地区：[1]台州学院人文学院,浙江临海317000

出　　处：《台州学院学报》2021年第5期55-61,共7页Journal of Taizhou University

基　　金：国家社科基金重大项目“19世纪西方文学思潮研究”(15ZDB086)。

摘　　要：法国自然主义与象征主义通常被认为是两种截然相反的流派,这种认识脱离了两者存在的历史背景。从文学流派史来看,这两种主义都与19世纪80年代前后的颓废文学运动有关。不少自然主义作家也被视为颓废主义者,于斯曼、龚古尔不但加入象征主义杂志,而且还主张两种主义的融合。从美学基础来看,自然主义和象征主义都是印象主义的不同发展阶段,它们要求主观地、个性地描写对自然的感受,也都重视对内在心理的揭示。自然主义与象征主义的二元对立,在一定程度上是抽象的假定,真实的自然主义和象征主义在美学与流派活动上有着深刻的共通性。It is a common tendency to regard French naturalism and symbolism as two opposite literaryschools, which, as a misunderstanding, loses touch with their historic background. In respect of the origin,both of the two schools correlated with decadent movement emerging about 1880s. Many naturalistswere also the member of decadent, J.-K. Huysmans, Edmond De Goncourt, as naturalists, not onlyjoined in symbolist journals, but also advocated blending the ideas of two groups. In views of aesthetics,naturalism and symbolism can be thought as two different stages of impressionism. Both of them valuesubjective and individual impression of nature, and emphasized the revealment of inner mind. The binaryopposition between naturalism and symbolism, in certain sense, is abstract supposition of critics, whichneglects their deep correlation in literary movement and aesthetics.

关 键 词：自然主义 象征主义 颓废文学杂志 于斯曼 龚古尔 

分 类 号：I565.06[文学—其他各国文学]