劳伦斯·宾雍与庞德对中国艺术美学的理解歧路  

Laurence Binyon and Ezra Pound's Different Reception of Chinese Aesthetics

作　　者：王同森 Wang Tongsen

机构地区：[1]东北大学艺术学院

出　　处：《中国比较文学》2024年第4期67-82,共16页Comparative Literature in China

基　　金：国家社科基金重大项目“百年欧美汉学家中国美学学术史研究”(编号:23&ZD300)的阶段性成果。

摘　　要：1915年,美国现代派诗人埃兹拉·庞德以犀利的言辞批评了自己昔日的中国艺术导师——劳伦斯·宾雍。学界在回答庞德为何会批评宾雍这个问题时,始终莫衷一是。事实上,宾雍从浪漫主义诗学的维度解读了中国艺术,并试图通过援引中国艺术美学资源为此时已步入“黄昏”的浪漫主义注入新的活力。而庞德则将中国艺术美学视作批判浪漫主义和维多利亚诗风、激励旋涡主义运动发展的重要参照。庞德极力抵制反对而宾雍却要极力挽留的浪漫主义传统,成为导致庞德收回对宾雍敬意的主要原因。宾雍与庞德对中国艺术美学的理解歧路,不仅折射出英美文学转型期前后两种不同文学主张之间的嬗变和张力,也揭示出中国艺术美学对英美审美现代性早期构建的广泛参与。In 1915,the American modernist poet Ezra Pound criticized Laurence Binyon,who was his mentor in Chinese art.The scholarly community has always been at a loss in answering the question of why Pound criticized Binyon.In fact,Binyon interpreted Chinese art from the dimension of romantic poetics,and tried to inject new vitality into the declining romanticism with Chinese aesthetics.Pound,on the other hand,saw the Chinese aesthetics as an important reference for critiquing the Romantic and Victorian poetic styles and inspiring the development of the Vorticism movement.The Romantic tradition,which Pound strenuously resisted while Binyon was trying to retain,became the main reason that led Pound to withdraw his respect for Binyon.The divergence in understanding of Chinese aesthetics between Binyon and Pound not only reflects the transmutation and tension between two different literary claims during the period of transition in Anglo-American literature,but also reveals the extensive involvement of Chinese aesthetics in the early construction of Anglo-American aesthetic modernity.

关 键 词：劳伦斯·宾雍 埃兹拉·庞德 浪漫主义 旋涡主义 中国艺术美学 

分 类 号：J01[艺术—艺术理论]