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文学印象主义是近年来凯瑟研究的一个新声部,但文学印象主义的概念笼统、模糊。印象主义作家吸收了印象派的绘画技巧后,在创作中表现对外界光、色等的直觉;注意捕捉转瞬即逝的感觉印象及这种感觉经验如何转化为主体的情感状态,通过片断的印象来展现完整的世界。但关键的、至今被忽略的本质点是印象派绘画和文学印象主义的共同内核:二者都是画家、作家用其主体的目光去审视世界,作品是其主体生命、情感和审美的承载,是主体意识萌生的表征。凯瑟无论在题材的选择上还是描绘视觉状态下的色彩,都带有强烈而鲜明的主体意识,包融了她的审美情感和价值观念,正是这种强烈的主体意识使其作品所负载的意蕴和内涵得以深化。
Literary Impressionism is a new part of Kaiser’s study in recent years. However, the concept of literary impressionism is general and vague. Impressionist writers absorbed the Impressionist painting skills, in the performance of the external light, color and other instincts; pay attention to capture the impression of fleeting feeling and how this sensory experience into the main emotional state, through the fragment of the impression Show the complete world However, the crux of the essence that has been neglected so far is the common core of Impressionist painting and literary Impressionism: both are painters and writers examine the world with the eyes of their subjects. Their works are the bearing of their main life, emotion and aesthetic, Characterization of the initiation of subjective consciousness. Cather’s choice of theme or depiction of the visual state of color, with a strong and distinct sense of the subject, embraces her aesthetic feelings and values, it is this strong subject consciousness to make its work load The meaning and content of the deepening.