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爱伦·坡是一位杰出的象征主义大师,他的作品象征迭出,意蕴无限,读者宛如身临其境;梦幻是他用来表达人物内心的真实想法的一种形式,梦幻交织真实,读者跟随他在超现实中游移;从男性视野出发,他的笔触洋溢着对美人无限爱慕与同情,同时他塑造的女性似乎活着只为了爱情,心甘情愿处于从属地位而无独立意志,颇具早期女性主义的雏形。爱伦·坡的作品忠实于个人感受,借物寓志,有感而发,敏锐的笔触已经进入唯美、象征、心理学、女性主义与超现实等现代主义领域。坡描述的客观世界以个人感情为基点,是现代主义的先声。早期叶荫[1]、张婧琛[2]就对坡作品中的现代主义因素做过积极的探索——关于人格分裂与孤独异化的主题与内心独白的叙事。本文想尝试从象征主义,女性主义与超现实主义三个方面探讨坡短篇小说的现代主义特征。
Allan Poe is an outstanding master of symbolism. His works are symbolic and infinite in meaning. Readers are immersed in the world. Dream is a form of real thoughts that he uses to express the innermost thoughts of people. Follow him in the surreal swim; From the male perspective, his strokes filled with infinite admiration and sympathy for the beauty, while he shaped the women seem to be alive only for love, willing to subordinate without independent will, quite early feminist Prototype. Allan Poe’s work is faithful to personal feelings, borrowing morality and sensibility, and keen brushwork has entered such modernist fields as aestheticism, symbolism, psychology, feminism and surrealism. The objective world described by Slope is based on personal feelings and is the forerunner of modernism. Early Ye Yin [1] and Zhang Jingchen [2] made an active exploration of the modernist elements in Poe’s works - the narrative on the topic of personality division and loneliness alienation and inner monologue. This article tries to explore the modernist features of short stories from the perspective of symbolism, feminism and surrealism.