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英国学者西蒙·沙玛说:“风景首先是文化,其次才是自然;它是投射于木、水、石之上的想象建构。”~(1)也就是说,所有的风景都是有意识的,特别是对诗歌而言。诗人沉浸于观看,在一个特定的位置获得对风景的感知和控制,从而让风景得以成型,这意味着以某种秩序建构一幅图画:它的色彩、线条和次序。而这个过程,从实践过程讲,非常具体,而从想象力角度讲,又是极其抽象。那些看起来极其客观的风景实际上都是内心的风景,它和这个不断丧失的世界相对,显示出重建世界的持续的努力。因而,对风景的建构过程是一系列意识的集合,如威廉·雷蒙斯
Simon Sharma, a British scholar, said: “The scenery is first of all cultural and secondly nature; it is an imaginative construction projected on wood, water, and stone.” That is, all the landscapes are Conscious, especially for poetry. The poet immerses himself in the viewing, gaining the perception and control of the landscape at a particular location, allowing the landscape to be shaped, which means constructing a picture in some order: its color, line, and order. And this process, speaking from the practical process, is very specific, but from the perspective of imagination, it is extremely abstract. Those seemingly very objective landscapes are in fact the innermost landscape, as opposed to this lost world, demonstrating the continuing efforts to rebuild the world. Thus, the process of constructing a landscape is a collection of consciousness, such as William Ramones