论庞德《神州集》和《七湖诗章》中的神州生命精神架构  

An Inquiry into the Spiritual Frame of Cathay Life in Ezra Pound's Cathay and The Seven Lakes Canto

作　　者：陶家俊[1] TAO Jiajun

机构地区：[1]北京外国语大学英语学院,北京100087

出　　处：《外国语文》2024年第6期1-15,共15页Foreign Languages and Literature

基　　金：国家社会科学基金重点项目“英国现代主义对中国古典文明的美学阐释”(20AWW001)的阶段性成果。

摘　　要：本文借鉴德国文化哲学家奥斯瓦尔德·斯宾格勒的文化生命有机论,从跨文化视角解读英美现代派诗人埃兹拉·庞德《神州集》和《七湖诗章》中以诗显诗的跨文化诗艺构造,具体表现为神州生命的现世唯美精神架构、道家精神架构、禅宗和儒家精神架构。庞德对神州文明精神生命跨文化移植呈现三条路径:形诗、音诗和意诗的融通;以汉字和汉诗为灵感的异位时空重叠、并列、参照或融合;对画与诗,诗、思想与历史,道家、佛教和儒家,古与今、西方与东方界线的僭越。经过庞德跨文化诗艺构造后的神州生命形态所浓缩的原初象征表现出以“道”为根源,兼容世俗情爱关怀、宇宙生命关怀、禅宗心灵救赎关怀和儒家圣治文明理想的复合特征。This article focuses on the secular aesthetic spiritual frame,Taoist spiritual frame,Zen Buddhist frame and Confucian spiritual frame purported by the trans-cultural poiesis of manifesting poetry with poetry in Anglo-American Modernist poet Ezra Pound's Cathay and The Seven Lakes Canto from trans-cultural perspective by referring to the German cultural philosopher Oswald Spengler's theory of cultural organism.It foregrounds the three routes of trans-culturally transplanting the spiritual life of Cathay civilization in Pound's poems:the combination of phanopoeia,melopoeia and logopoeia;the superpositioning,paralleling,referring or merging of heterotopic time-spaces inspired by Chinese character and poetry;the trespassing of the boundaries between painting and poetry,poetry,thought and history,Taoism,Budhhism and Confucianism,ancient and today,as well as the West and the East.The prime-symbol crystalized through the Cathay life-form in Pound's trancultural poiesis manifests the complex feature of secular concern of friendship and love,cosmic life concern,Zen Buddhist spiritual redemption concern and the Confucian ideal of sage-governed civilization,with"Tao"as the root.

关 键 词：埃兹拉·庞德 神州生命 跨文化诗艺构造 跨文化移植 

分 类 号：I561.072[文学—其他各国文学]