摘要
本文以"界限"问题为线索,将法国诗人保尔·克洛代尔1907年的纲领性著作《诗艺》和1946年的艺术评论集《眼在听》联系起来,观察诗人诗学原则的确立和发展,以及在不同时期对东方思想的借鉴。在《诗艺》中,凭借"法国式的"、"清晰、牢固"的"界限",克洛代尔构建了自己基本的理论框架,有选择性地参考了中国"因空而生"的理论和阴阳的并置结构。在《眼在听》中,"界限"被柔化,成为富含东方色彩的"连接与混合的能力",与心灵的状态和灵魂密切相关。从《诗艺》到《眼在听》,体现了诗人与他者文化的持续对话和"共生"。其对创作的反思与实践为东西方"界限"思想的对话做出了贡献。
This article examines the concept of＂limit＂ in the French poet Paul Claudel＇s Poetic Art （1905） and Listening Eye （1946）, for the purpose of observing the construction and development of his poetic thought and his attitudes towards Chinese culture in his different periods of life. In Poetic Art, Claudel builds his theory upon a ＂clear, solid and French style＂ limit, with reference to the Chinese theories of ＂emptiness＂ and the juxtaposition of Yin-Yang. In Listening Eye, the concept of limit becomes more flexible and is changed to ＂an ability to connect and mix＂, which is more imbued with Chinese color and closely related to the dispositions of mind and soul. From Poetic Art to Listening Eye, it＇s a continuous dialogue and ＂co-naissance＂ with the culture of the Other, which contributes to the dialogue between Chinese and Western thoughts on the ＂limit＂.
出处
《外国文学研究》
CSSCI
北大核心
2017年第2期62-71,共10页
Foreign Literature Studies
基金
华南理工大学中央高校基本科研业务费【2015QNXM06】资助项目的阶段性成果
