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现代意境理论的发展早已为我们确证,意境的构成远非“情景交融”的二元结构,王昌龄所提出的“诗有三境”(“物境”、“情境”、“意境”)已能够在颇多的诗歌中得到有机地融汇,呈示出由实到虚、由浅入深、逐层升华的动态意境结构。雨巷诗人戴望舒大胆吸收西方现代艺术精神,以纯主观的现代性物境,折射出多维的情境,深层次上则呈示出与天冥合、天人合一的最高意境。本文试以现代意识来解析,证明诗人对于东西方艺术的借鉴与融汇。
The development of modern artistic conception theory has already confirmed to us that the composition of artistic conception is far from the dual structure of “the blending of sceneries” and “the three realms of poetry” proposed by Wang Changling. , “Mood”) has been able to get together in a lot of poetry organically, showing the real virtual, from shallow to deep, sublimation layers of dynamic mood structure. Dai Wangshu, a poet of the Yu Xiang alley, dared to absorb the spirit of modern western art and reflected the multi-dimensional situation with purely subjective modernity. At a deeper level, he showed the highest artistic conception of unity with heaven and man. This article tries to analyze with modern consciousness, proving the poet’s reference and integration to the eastern and western art.