摘要
史蒂文斯对秩序的追求是学界的热议话题,但他对混沌的求索却鲜有研究。史蒂文斯赞同勃拉克与毕加索的美学观,强调艺术诞生于混沌,建立在毁灭的痕迹之上。这是对现代社会工具理性的批判和僭越。他诗中体现的混沌与秩序的辩证与其“现实与想象情结”异曲同工,是一种不断毁灭又重生的诗学体验。死隐喻构成了我们的语言与观看世界的基本方式,它们曾经是鲜活的、诗性的、有洞见的,但在僵化后却又暴力地遮蔽了世界,切断了人与世界亲密的连结。诗人通过“去创造”,不断消解僵化的秩序,回到混沌,以创造活隐喻的诗性体验,增强我们对现实的感受。
Stevens’quest for order is a hotly debated topic in the academic field,but little research has been done on his pursuit of chaos.Stevens subscribes to the aesthetic views of Braque and Picasso,emphasizing that art is born out of chaos and built on traces of destruction.This is a critique and transgression of the instrumental rationality of modern society.The dialectic between chaos and order embodied in Stevens’poems is similar to his“Reality-Imagination Complex”.It is a poetic experience of constant destruction and rebirth.Dead metaphors constitute our language and our basic ways of seeing the world.They used to be fresh,poetic,and insightful,but now being rigid,they violently obscure the world and cut off people’s intimate connection to it.The poet constantly dissolves the ossified order and returns to chaos by decreation,in order to create poetic experiences with live metaphors,heightening our sense of reality.
作者
周雪滢
Zhou Xueying(English Department,College of Humanities and Law,Beijing University of Chemical Technology,Beijing 100029,China)
出处
《外国语文研究》
2023年第4期51-62,共12页
Foreign Language and Literature Research
