两种“异域”——论兰波与高更在同代人笔下的相遇  

Two Approaches to the Exotic—On the Encounters Between Rimbaud and Gauguin by Contemporaries

作　　者：王洪羽嘉 Wang Hongyujia(School of Humanities,Shanghai Normal University,Shanghai 200234,China)

机构地区：[1]上海师范大学人文学院,上海200234

出　　处：《台州学院学报》2024年第1期25-32,共8页Journal of Taizhou University

基　　金：2021年上海师范大学博士生拔尖人才培养项目“19世纪下半叶法国诗坛的诗画融通研究”(AC9103-21-368012310)。

摘　　要：兰波与高更在米尔波艺术评论和谢阁兰美学理论中的两次相遇,看似毫不相干,实际上展现了兰波与高更“异域”思考的演变。1891年,米尔波在艺术评论中称高更为“图像艺术的兰波”,暗示了两位创作者跨越不同艺术壁垒的特点;1904年,谢阁兰发表《两个兰波》与《高更在他最后的布景里》,并在两人离开欧洲的行为中受到启发,提出“多异美学”。从米尔波的评论出发,诗歌与绘画互为艺术的“异域”。兰波与高更从探索“姐妹艺术”及“姐妹艺术”的语言开始,以跨艺术的理念创作,促进主体在对话中实现自我更新。从谢阁兰的评论入手,对话的态度进一步促使他们离开欧洲,从时空的“异域”反观欧洲社会现代性的发展,寻找两种文明的对话互利性。兰波与高更利用艺术“异域”和时空“异域”的多元性警惕同质化,至今具有意义。The two encounters between Rimbaud and Gauguin in Mirbeau's art criticism and Sega⁃len's aesthetic theory,seemingly unrelated,in fact demonstrate the evolution of Rimbaud's and Gauguin's thinking of the exotic.In 1891,Mirbeau called Gauguin"the Rimbaud of pictorial art"in an art review,suggesting that the two creators crossed the barriers of artistic disciplines.In 1904,Sega⁃len published The Double Rimbaud and Gauguin at his Last Setting and was inspired by their depar⁃ture from Europe to develop his"Aesthetic of Diversity".From Mirbeau's commentary,it can be found that the language of poetry and the language of painting are mutually foreign.Rimbaud and Gauguin began exploring the"exotic"territory of arts and art languages and created arts from a trans-artistic perspective,advocating that different subjects would renew themselves in dialogue.From Segalen's devel⁃opment,this dialogical attitude later led the creators to leave Europe and reflected on the development of European social modernity from an exotic perspective,searching for the mutual benefits of dialogue between two civilizations.Rimbaud and Gauguin's exploration across art and space and time,warns against homogenization,and still has cultural significance nowadays.

关 键 词：兰波 高更 诗画关系 “异域” 

分 类 号：I565.072[文学—其他各国文学] J205[艺术—美术]