绘画诗与改写:透视济慈的古希腊瓮在美国现代派诗歌中的去浪漫化现象(英文)

Ekphrasis and Adaptation:Keats's Grecian Urn in Modern American Poetry

本文通过分析约翰·济慈的"古希腊瓮颂"一诗探讨从英国浪漫派绘画诗过渡到美国现代派绘画诗这一过程涉及的审美改写原则。本文运用摩西·门德尔松的"纯美公式"从数理逻辑上解决济慈和美国现代派诗人共有的"狂欢"诗学中关于"美"、"真"和"能量"的"计算"问题,并依据克雷格的"诗画静止运动说"原理,论述了庞德的"第四维—静止"原则在这一过程中的作用。这一原则不仅为绘画艺术转换成文字符号提供了一个可行的改写范式,而且有助于理解济慈的古希腊瓮在美国现代派诗歌"去浪漫化"过程中的消融现象。

This article aims to examine the adaptive aesthetic principle involved in the transition from English Romantic ekphrasis to modem American ekphrasis through the case study of John Keats＇ s poem, ＂Ode on a Grecian Urn. ＂ Moses Mendelssohn＇ s formula of beauty will be employed to ＂calculate＂ such terms as ＂beauty,＂ ＂truth,＂ and ＂energy＂ in the poetics of ＂wild ecstasy＂ shared by Keats and modem American poets. Based on Murray Krieger＇ s modem ekphrastic principle of ＂the still movement,＂ this article is intended to articulate how Ezra Pound＇ s ＂fourth dimension of stillness＂ provides readers with an applicable paradigm dealing with the verbal representation of the graphic art and helping them grasp the de - romanticizing of Keats＇ s Grecian urn in modem American poems.