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济慈的《希腊古瓮颂》被认为是艺格敷词的经典范例,引发了众多批评家的分析和研究。斯皮策、克里格和赫弗南的三篇文献分别从视觉艺术向听觉艺术的转换、时间艺术向空间艺术的转换和视觉艺术再现之文学再现的角度对该诗作展开了批评。笔者认为,三位批评家提出的艺格敷词中的艺术转换和再现均为济慈的创造性想象提供了可能,而想象又是这三者存在的前提条件,由此构成了济慈《希腊古瓮颂》独特的艺格敷词美学。
Keats’s “Ode to the Greek urn” is considered to be a classic example of artistic dramas, triggering the analysis and research of many critics. The three documents of Spitzer, Kriging and Heffernan criticized the poem in terms of the conversion of visual arts to auditory arts, the conversion of time art to space art and the reproduction of visual art respectively. The author believes that the art conversion and reproduction proposed by the three critics offer the possibility of Keats’s creative imagination, which is the prerequisite for the existence of these three, thus constituting the “ Ode to the ancient urn ”unique aesthetic rhetoric.