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严格来讲,在法国文化史上,艺术与文学的关系到了象征主义那里,才开始进入真正的交融。波德莱尔的《应和》一诗(一译“通感”、“契合”),彻底打开了“五感”之间的传统界限,为艺术种类之间的融合与跨界打开了道路。波德莱尔本人对绘画(德拉克洛瓦、贡斯当丹·居伊)、音乐(瓦格纳)的研究和喜好,为其诗歌创作的独特性提供了全面的保证;兰波的诗歌以著名的字母与色彩之间的关联(《元音》)“打乱”了感官,从而创造出奇瑰的文学世界;马拉美则以一种独特的诗歌一音乐理论,将诗歌的材质感推到极致,最终又在《骰子的一掷》中将诗歌引向了绘画空间。
Strictly speaking, in the history of French culture, art and literature are related to symbolism, and only then begin to enter the real blending. Baudelaire’s “should and” a poem (“translation”, “fit”), completely opened the traditional boundaries between the “five senses” for the fusion of art types and Cross-border opened the way. Baudelaire’s own research and preferences on paintings (Delacroix, Gensdon-d’neué) and music (Wagner) provide a comprehensive guarantee for the uniqueness of his poetry; (“Vowel”) “disrupt ” the senses, thus creating an extraordinary literary world; Marathi is a unique poetry - a music theory, the material texture of the poem To the extreme, and ultimately in the “dice throwing” in poetry to the painting space.