威.休.奥登诗歌中的绘画艺术研究(英文版)

节选

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　　《威·休·奥登诗歌中的绘画艺术研究（英文版）》：　　1.1.1 Auden Studies in Britain and the United States　　（1） The 1930s ——Wide Acclaim for a Fledgling Poet： The year 1930 saw thepublication of Auden’s first collection of poetry entitled Poems-， signifying that the poethad officially embarked on a prolonged literary career accompanied by intensive criticismfrom a wide assemblage of scholars and critics over successive decades. RegardingAuden’s maiden work Naomi Mitchison， in The Week-ezd. Revieu in October 1930，hailed it as heralding “a new generation” with its”beautiful and startling lines”（Mitchison， 1983： 81） . In 1932， commenting on The Orators， John Hayward observedthat “I have no doubt that it is the most valuable contribution to English poetry since TheWaste Land” （Hayward， 1983： 115）. It was apparent that Auden was steadily rising tofame as a promising young poet with distinctive style of his own. In 1937， the renownedjournal New Verse launched a special number devoted solely to Auden， whom was simplydescribed as “monstrous” by Geoffrey Grigson in his contribution entitled “Auden as aMonster” （qtd. in Sansom， 2004： 227）. Other contributors to this issue of New Versearticulated， respectively， their personal impressions of the poet： Edwin Muir describedAuden’s imagination as “grotesque”； Dylan Thomas remarked that he was “wide anddeep”； Bernard Spencer claimed that he had succeeded in “brutalising the language”（ibid.， 227） .　　Regarding the fledgling poet who had exhibited impressive talent the critical worldagreed that he had launched “a brilliant attack on English staleness， dullness andcomplacency” （Plomer， 1983： 95）. Nevertheless， amidst the atmosphere of generalacclaim a number of critics， represented by Dilys Powell and Dudley Fitts， took the leadin calling attention to Auden’s opaque obscurity， which they claimed constitutes aninsurmountable obstacle to understanding Auden’s poetry. Meanwhile， Babette Deutschwas the first to speak highly of the social and political consciousness pervading some ofAuden’s poems. She observed that “If [if] one is to understand Auden’s poetry one mustrecognize that he is attacking the Old Gang， the declining class， and therewith attackingeverything in himself which clings to that sick part of society” （ Deutsch， 1991： 41） . Inreaction to Deutsch’s hearty approval of Auden’s socio-political consciousness CyrilConnolly remarked， however， that “I think Auden is the only poet of any real staturesince Eliot， but he is essentially an obscure， difficult， personal writer” （Connolly， 1983：　　188） .　　（2） The 1940s-” Divergent Views across the Atlantic： Auden’s status was widely disputed after his immigration to the United States in 1939. In 1940， the magazine　　Horizon ran， a coLumn， open， to the publ，ic debating the pros and cons of Auden’s departrxre.In，1941 Louis MacNeice， in an article entitled “Traveller’s Return，” noted that London was “full of rumours about Auden” （qtd. in Sansom， 2004： 229）. Questions about his departure were even raised in Parliament. All this public stir surrounding Auden’s departure for America pointed to the poet’s high status in the sphere of English poetry；and it was exactly on this account that the British could hardly turn a blind eye to the　　poet’s ” betrayal.”　　Auden’s immigration to the US might be taken as a watershed dividing his literary career as well as affecting the critical milieu both in Britain and the US. In Britain， critics in general seemed to agree that Auden had taken a downward turn in his creations， noting in particular his cool detachment from the social and political events that were then seriously afflicting Britain. John Lehmann lamented that Auden had intentionally refrained from writing “the poetry of this war we are all waiting for； as it is， there seems to me a danger that a certain vagueness of phrase and a kind of beneficent aloofness that is disturbing in much of his recent work may only increase” （qtd. in Haffenden， 1983： 37）.Similarly， Julian Symons regretted that ‘6Auden had lost his genius with his disinvolvement” （ibid.， 37）.　　With World War II drawing to its close， the critical hostility to Auden that had once raged in Britain considerably subsided. Critics ceased to make an issue of the poet’s putative “betrayal” ； instead， they began to concern themselves with Auden’s ideological shift marked by his departure for the US and how this shift had affected his creations. It is worthy of note that the keynote tone dominating Auden’s criticism in Britain was still an unfavourable one. Scholars believed that Auden had achieved admirable virtuosity in poetic craftsmanship， but his poetry was said to be sinking， irrevocably， deeper and deeper into dullness. Commenting on Auden’s long poem “The Age of Anxiety” Patric Dickinson interrogated plainly in Horizon that “when he [Auden] really has become American，inside as well as out， in diction， in rhythm， in feeling， in thought （as Mr. Eliot has become English） surely he will again produce living work?” （ibid.， 376）.　　In contrast to the relatively harsh tone that characterized Auden’s criticism in Britain， American scholars exhibited a generally tolerant attitude in receiving this British poet. Commenting on Auden’s collection of poems The Double Man Malcolm Cowley remarked that “people who haven’t followed his [Auden’s] recent development will find on reading it that they are entering an unfamiliar … but stimulating world of ideas，” and that “The Double Man is technically a considerable achievement” （ Cowley， 1983： 309） .Cowley also observed that”Auden is … a profoundly Christian poet，” and that “his new book is preoccupied with the problem not only of war guilt but of guilt in generaY’ （ibid.，311）. Apparently， Cowley was keen sighted enough to perceive Auden’s subtly complex changes in belief and poetic style， and hailed such changes as significantly favourable.　　……

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内容简介

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本书为“当代外语研究论丛”系列之一，采用跨学科研究的综合、对比视角，探索奥登诗歌与绘画艺术之间的紧密联系。本书主要考察广泛呈现于奥登诗歌中的一系列绘画造型元素，包括光影、色彩、透视、空间、构图等，以及奥登对于西方美术目前一些主流画派的美学借鉴。本书深入探讨了奥登如何运用各种绘画艺术技法来营造其诗歌的画面感，以及如何汲取不同画派的艺术风格来增强其诗歌的视觉表现力。以此揭示奥登丰富、广阔诗学话语的来源，阐明其诗作经久不衰的艺术感染力。
本书的读者对象为外国语言文学、比较文学与世界文学专业方向的高校教师、科研人员、研究生等。也可供喜爱诗歌与绘画艺术的读者阅读参考。

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作者简介

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　　龚晓睿，1978年生，男，上海立信会计金融学院外语学院讲师，上海外国语大学英语语言文学博士研究生毕业，主要从事英美文学及诗歌与绘画跨学科研究。

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目录

Chapter OneINTRODUCTION1．1 A Critical Survey of English and Chinese Scholarship on W．H．Auden1．2 A Probe into the Relationship between Poetry and Painting1．3 The Motivation，Methodology and Significance of This BookChapter Two A Poet Artistically Inspired：Auden’s Insight into Painting2．1 Auden’s Knowledge and Perception of Painting2．2 Auden’s Emphasis on Direct Observation of Nature2．3 Auden’s Rejection of Camera Lens as“Desanctifying Sight”2．4 Auden’s Attempt to Visualize Abstract ConceptsChapter Three Fundamental Elements of Painting in Auden’s Poetry（I）：Microscopic Vision3．1 Light and Shadow：Rhythm of Brightness and Darkness3．2 Colour：Multi-Hued Apparel of NatureChapter Four Fundamental Elements of Painting in Auden’s Poetry（II）：Macroscopic Vision4．1 Perspective and Space：Aspiration for Infinity4．2 Composition：Aesthetic Arrangement of PicturesChapter Five Objective Representation：Influence from Major Pre-20th Cen-tury Schools of Painting on Auden’s Creation of Poetry5．1 Baroque Painting：Vibration of Dynamic Life5．2 Pastoral Painting：Idyllic Portrayal of Rural Landscape5．3Impressionist Painting：Symphony of Light and Colour5．4 Post-Impressionist Painting：Scenery Endowed with HumanityChapter Six Subjective Expression：Influence from Major 20th CenturySchools of Painting on Auden’s Creation of Poetry6．1Cubist Painting：Subverting Visual Conventions6．2Surrealistic Painting：Delving into the Depths of SubconsciousnessChapter SevenConclusionAppendix（Illustrations）BibliographyAn Index of Major Terms

封面

书名:威.休.奥登诗歌中的绘画艺术研究(英文版)

作者:龚晓睿

页数:237

定价:¥82.0

出版社:上海交通大学出版社

出版日期:2017-06-01

ISBN:9787313176233

PDF电子书大小:63MB 高清扫描完整版