掃一掃
關注中圖網
官方微博
本類五星書更多>
-
>
東洋鏡:京華舊影
-
>
東洋鏡:嵩山少林寺舊影
-
>
東洋鏡:晚清雜觀
-
>
關中木雕
-
>
國博日歷2024年禮盒版
-
>
中國書法一本通
-
>
中國美術8000年
威.休.奧登詩歌中的繪畫藝術研究(英文版) 版權信息
- ISBN：9787313176233
- 條形碼：9787313176233 ; 978-7-313-17623-3
- 裝幀：一般膠版紙
- 冊數：暫無
- 重量：暫無
- 所屬分類：>
威.休.奧登詩歌中的繪畫藝術研究(英文版) 內容簡介
本書為“當代外語研究論叢”系列之一，采用跨學科研究的綜合、對比視角，探索奧登詩歌與繪畫藝術之間的緊密聯系。本書主要考察廣泛呈現于奧登詩歌中的一系列繪畫造型元素，包括光影、色彩、透視、空間、構圖等，以及奧登對于西方美術目前一些主流畫派的美學借鑒。本書深入探討了奧登如何運用各種繪畫藝術技法來營造其詩歌的畫面感，以及如何汲取不同畫派的藝術風格來增強其詩歌的視覺表現力。以此揭示奧登豐富、廣闊詩學話語的來源，闡明其詩作經久不衰的藝術感染力。
本書的讀者對象為外國語言文學、比較文學與世界文學專業方向的高校教師、科研人員、研究生等。也可供喜愛詩歌與繪畫藝術的讀者閱讀參考。
威.休.奧登詩歌中的繪畫藝術研究(英文版) 目錄
Chapter OneINTRODUCTION
1．1 A Critical Survey of English and Chinese Scholarship on W．H．Auden
1．2 A Probe into the Relationship between Poetry and Painting
1．3 The Motivation，Methodology and Significance of This Book
Chapter Two A Poet Artistically Inspired：Auden's Insight into Painting
2．1 Auden's Knowledge and Perception of Painting
2．2 Auden's Emphasis on Direct Observation of Nature
2．3 Auden's Rejection of Camera Lens as“Desanctifying Sight”
2．4 Auden's Attempt to Visualize Abstract Concepts
Chapter Three Fundamental Elements of Painting in Auden's Poetry（I）：
Microscopic Vision
3．1 Light and Shadow：Rhythm of Brightness and Darkness
3．2 Colour：Multi-Hued Apparel of Nature
Chapter Four Fundamental Elements of Painting in Auden's Poetry（II）：
Macroscopic Vision
4．1 Perspective and Space：Aspiration for Infinity
4．2 Composition：Aesthetic Arrangement of Pictures
Chapter Five Objective Representation：Influence from Major Pre-20th Cen-
tury Schools of Painting on Auden's Creation of Poetry
5．1 Baroque Painting：Vibration of Dynamic Life
5．2 Pastoral Painting：Idyllic Portrayal of Rural Landscape
5．3Impressionist Painting：Symphony of Light and Colour
5．4 Post-Impressionist Painting：Scenery Endowed with Humanity
Chapter Six Subjective Expression：Influence from Major 20th Century
Schools of Painting on Auden's Creation of Poetry
6．1Cubist Painting：Subverting Visual Conventions
6．2Surrealistic Painting：Delving into the Depths of Subconsciousness
Chapter SevenConclusion
Appendix（Illustrations）
Bibliography
An Index of Major Terms
1．1 A Critical Survey of English and Chinese Scholarship on W．H．Auden
1．2 A Probe into the Relationship between Poetry and Painting
1．3 The Motivation，Methodology and Significance of This Book
Chapter Two A Poet Artistically Inspired：Auden's Insight into Painting
2．1 Auden's Knowledge and Perception of Painting
2．2 Auden's Emphasis on Direct Observation of Nature
2．3 Auden's Rejection of Camera Lens as“Desanctifying Sight”
2．4 Auden's Attempt to Visualize Abstract Concepts
Chapter Three Fundamental Elements of Painting in Auden's Poetry（I）：
Microscopic Vision
3．1 Light and Shadow：Rhythm of Brightness and Darkness
3．2 Colour：Multi-Hued Apparel of Nature
Chapter Four Fundamental Elements of Painting in Auden's Poetry（II）：
Macroscopic Vision
4．1 Perspective and Space：Aspiration for Infinity
4．2 Composition：Aesthetic Arrangement of Pictures
Chapter Five Objective Representation：Influence from Major Pre-20th Cen-
tury Schools of Painting on Auden's Creation of Poetry
5．1 Baroque Painting：Vibration of Dynamic Life
5．2 Pastoral Painting：Idyllic Portrayal of Rural Landscape
5．3Impressionist Painting：Symphony of Light and Colour
5．4 Post-Impressionist Painting：Scenery Endowed with Humanity
Chapter Six Subjective Expression：Influence from Major 20th Century
Schools of Painting on Auden's Creation of Poetry
6．1Cubist Painting：Subverting Visual Conventions
6．2Surrealistic Painting：Delving into the Depths of Subconsciousness
Chapter SevenConclusion
Appendix（Illustrations）
Bibliography
An Index of Major Terms
展開全部
威.休.奧登詩歌中的繪畫藝術研究(英文版) 節選
《威·休·奧登詩歌中的繪畫藝術研究（英文版）》： 1.1.1 Auden Studies in Britain and the United States （1） The 1930s ——Wide Acclaim for a Fledgling Poet： The year 1930 saw thepublication of Auden's first collection of poetry entitled Poems-， signifying that the poethad officially embarked on a prolonged literary career accompanied by intensive criticismfrom a wide assemblage of scholars and critics over successive decades. RegardingAuden's maiden work Naomi Mitchison， in The Week-ezd. Revieu in October 1930，hailed it as heralding "a new generation" with its"beautiful and startling lines"（Mitchison， 1983： 81） . In 1932， commenting on The Orators， John Hayward observedthat "I have no doubt that it is the most valuable contribution to English poetry since TheWaste Land" （Hayward， 1983： 115）. It was apparent that Auden was steadily rising tofame as a promising young poet with distinctive style of his own. In 1937， the renownedjournal New Verse launched a special number devoted solely to Auden， whom was simplydescribed as "monstrous" by Geoffrey Grigson in his contribution entitled "Auden as aMonster" （qtd. in Sansom， 2004： 227）. Other contributors to this issue of New Versearticulated， respectively， their personal impressions of the poet： Edwin Muir describedAuden's imagination as "grotesque"； Dylan Thomas remarked that he was "wide anddeep"； Bernard Spencer claimed that he had succeeded in "brutalising the language"（ibid.， 227） . Regarding the fledgling poet who had exhibited impressive talent the critical worldagreed that he had launched "a brilliant attack on English staleness， dullness andcomplacency" （Plomer， 1983： 95）. Nevertheless， amidst the atmosphere of generalacclaim a number of critics， represented by Dilys Powell and Dudley Fitts， took the leadin calling attention to Auden's opaque obscurity， which they claimed constitutes aninsurmountable obstacle to understanding Auden's poetry. Meanwhile， Babette Deutschwas the first to speak highly of the social and political consciousness pervading some ofAuden's poems. She observed that "If [if] one is to understand Auden's poetry one mustrecognize that he is attacking the Old Gang， the declining class， and therewith attackingeverything in himself which clings to that sick part of society" （ Deutsch， 1991： 41） . Inreaction to Deutsch's hearty approval of Auden's socio-political consciousness CyrilConnolly remarked， however， that "I think Auden is the only poet of any real staturesince Eliot， but he is essentially an obscure， difficult， personal writer" （Connolly， 1983： 188） . （2） The 1940s-" Divergent Views across the Atlantic： Auden's status was widely disputed after his immigration to the United States in 1939. In 1940， the magazine Horizon ran， a coLumn， open， to the publ，ic debating the pros and cons of Auden's departrxre.In，1941 Louis MacNeice， in an article entitled "Traveller's Return，" noted that London was "full of rumours about Auden" （qtd. in Sansom， 2004： 229）. Questions about his departure were even raised in Parliament. All this public stir surrounding Auden's departure for America pointed to the poet's high status in the sphere of English poetry；and it was exactly on this account that the British could hardly turn a blind eye to the poet's " betrayal." Auden's immigration to the US might be taken as a watershed dividing his literary career as well as affecting the critical milieu both in Britain and the US. In Britain， critics in general seemed to agree that Auden had taken a downward turn in his creations， noting in particular his cool detachment from the social and political events that were then seriously afflicting Britain. John Lehmann lamented that Auden had intentionally refrained from writing "the poetry of this war we are all waiting for； as it is， there seems to me a danger that a certain vagueness of phrase and a kind of beneficent aloofness that is disturbing in much of his recent work may only increase" （qtd. in Haffenden， 1983： 37）.Similarly， Julian Symons regretted that '6Auden had lost his genius with his disinvolvement" （ibid.， 37）. With World War II drawing to its close， the critical hostility to Auden that had once raged in Britain considerably subsided. Critics ceased to make an issue of the poet's putative "betrayal" ； instead， they began to concern themselves with Auden's ideological shift marked by his departure for the US and how this shift had affected his creations. It is worthy of note that the keynote tone dominating Auden's criticism in Britain was still an unfavourable one. Scholars believed that Auden had achieved admirable virtuosity in poetic craftsmanship， but his poetry was said to be sinking， irrevocably， deeper and deeper into dullness. Commenting on Auden's long poem "The Age of Anxiety" Patric Dickinson interrogated plainly in Horizon that "when he [Auden] really has become American，inside as well as out， in diction， in rhythm， in feeling， in thought （as Mr. Eliot has become English） surely he will again produce living work?" （ibid.， 376）. In contrast to the relatively harsh tone that characterized Auden's criticism in Britain， American scholars exhibited a generally tolerant attitude in receiving this British poet. Commenting on Auden's collection of poems The Double Man Malcolm Cowley remarked that "people who haven't followed his [Auden's] recent development will find on reading it that they are entering an unfamiliar ... but stimulating world of ideas，" and that "The Double Man is technically a considerable achievement" （ Cowley， 1983： 309） .Cowley also observed that"Auden is ... a profoundly Christian poet，" and that "his new book is preoccupied with the problem not only of war guilt but of guilt in generaY' （ibid.，311）. Apparently， Cowley was keen sighted enough to perceive Auden's subtly complex changes in belief and poetic style， and hailed such changes as significantly favourable. ……
威.休.奧登詩歌中的繪畫藝術研究(英文版) 作者簡介
龔曉睿，1978年生，男，上海立信會計金融學院外語學院講師，上海外國語大學英語語言文學博士研究生畢業，主要從事英美文學及詩歌與繪畫跨學科研究。
書友推薦
- >
我從未如此眷戀人間
- >
龍榆生：詞曲概論/大家小書
- >
羅曼·羅蘭讀書隨筆-精裝
- >
史學評論
- >
姑媽的寶刀
- >
羅庸西南聯大授課錄
- >
經典常談
- >
月亮虎
本類暢銷
