论兰波诗歌的视觉语言  

On the Visual Language of Rimbaud’s Poetry

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作  者:李建英[1,2] 王洪羽嘉 LI Jian-ying;WANG Hong-yu-jia(Research Institute of Foreign Languages and Cultures,Zhejiang Yuexiu University,Shaoxing,Zhejiang 312000,China;School of Humanity,Shanghai Normal University,Shanghai 200234,China)

机构地区:[1]浙江越秀外国语学院外国语言文化研究院,浙江绍兴312000 [2]上海师范大学人文学院,上海200234

出  处:《湘潭大学学报(哲学社会科学版)》2024年第2期167-172,共6页Journal of Xiangtan University:Philosophy And Social Sciences

基  金:浙江越秀外国语学院研究基地2023年度委托课题“法国诗人兰波诗学思想的诗画关系研究”(2023WGYYWH08)的阶段性成果。

摘  要:兰波诗歌的视觉特征是显而易见的。他诗画通融意识的产生,受浪漫主义、巴那斯派、印象主义等艺术流派的启发,但他坚守自己独特的审美情趣,不追求情景交融,而将视觉呈现作为“发明”诗歌新语言的手段。他有意将视觉错轨,以便改变“看”的角度,摆脱“看”的旧习惯和旧观念。他的视觉呈现是空间化文本构图和时间化文本叙述的完美结合,时空的交叉和置换实现了诗人表达的自由,扩大了语言的能指,促进了诗意的延伸。空间艺术的开发和拓展是兰波实践其诗学主张的重要途径,但当诗人发现视觉语言的极限时,便主动放弃诗歌,而放弃亦是空间艺术的一种表现形式。The visual characteristics of Rimbaud’s poetry are obvious.His sense of integrating poetry and painting is inspired by Romanticism,Parnasse,Impressionism and other art schools,but he adheres to his own unique aesthetic interest,not pursuing the integration of scenes and emotions,but using visual presentation as a means of“inventing”a new language for poetry.He intentionally misaligns his vision in order to change the angle of“seeing”and get rid of the old habits and concepts of“seeing”.His visual presentation is a perfect combination of spatialized textual composition and temporalized textual narration,and the intersection and displacement of time and space help to realize the poet’s freedom of expression,expand the scope of signifiers in language,and promote the extension of poetic connotation.The development and expansion of spatial art is an important way for Rimbaud to practice his poetic propositions,but when the poet finds the limit of visual language,he voluntarily abandons poetry,and this abandonment is also a form of expression of spatial art.

关 键 词:兰波 诗歌 视觉 图像 

分 类 号:I06[文学—文学理论]

 

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