里尔克与史蒂文斯关于艺术的隐秘对话  

Rilke and Stevens’ Hidden Conversation About Art

作　　者：倪志娟[1] 李应韵 NI Zhijuan;LI Yingyun(School of Law,Hangzhou Dianzi University,Hangzhou 310018,China)

机构地区：[1]杭州电子科技大学法学院,浙江杭州310018

出　　处：《浙江外国语学院学报》2022年第3期105-112,共8页Journal of Zhejiang International Studies University

摘　　要：赖内·马利亚·里尔克和华莱士·史蒂文斯关于艺术的主张,表面看来相互抵牾,实则构成某种跨越时空的隐秘对话,这从诗歌《最后的黄昏》和《莫扎特,1935》中可见一斑。里尔克以死亡的“炼金术”将现实融入艺术,使现实得以铭记、艺术获得自己的本质;史蒂文斯认为现实与艺术相互对峙,这种观点直到他的晚年才有所改变。Tracing the seemingly contradicted themes of Rainer Maria Rilke’s “Letzer Abend” and Wallace Stevens’ “Mozart, 1935” can construct a secret dialogue between the two poets across time and space.Rilke uses the alchemy of death to integrate reality into art, so that reality can be remembered and art can acquire its own essence;Stevens’ insistence that reality and art confront each other persisted until his later years.

关 键 词：赖内·马利亚·里尔克 华莱士·史蒂文斯 艺术 对话 

分 类 号：I106.2[文学—世界文学]