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本文通过分析约翰·济慈的“古希腊瓮颂”一诗探讨从英国浪漫派绘画诗过渡到美国现代派绘画诗这一过程涉及的审美改写原则。本文运用摩西·门德尔松的“纯美公式”从数理逻辑上解决济慈和美国现代派诗人共有的“狂欢”诗学中关于“美”、“真”和“能量”的“计算”问题,并依据克雷格的“诗画静止运动说”原理,论述了庞德的“第四维—静止”原则在这一过程中的作用。这一原则不仅为绘画艺术转换成文字符号提供了一个可行的改写范式,而且有助于理解济慈的古希腊瓮在美国现代派诗歌“去浪漫化”过程中的消融现象。
In this paper, we analyze the aesthetic rewriting principle involved in the process of the transition from English Romanticist paintings to the American modernist paintings through the analysis of John Keats’s Ancient Greek Urn Song. In this paper, Moses Mendelssohn’s “pure formula ” is used to solve mathematical “beauty ”, “real ” and “Calculation” of “energy” and based on Craig’s theory of “theory of stillness of poetry and painting”, it discusses Pound’s “fourth dimension-stillness” principle in this process effect. This principle not only provides a viable rewriting paradigm for the transformation of pictorial arts into literary symbols, but also helps to understand the ablation of Keats’s ancient Greek urn in the modernist poetry “going to romance ” in the United States.