(3.230.173.249) 您好!臺灣時間:2021/04/21 05:02
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果

詳目顯示:::

我願授權國圖
: 
twitterline
研究生:江雅玲
研究生(外文):River Ya-ling Chiang
論文名稱:現代詩與視覺藝術之關連
論文名稱(外文):The Correlation Between Modernist Poetry and Visual Art
指導教授:紀秋郎紀秋郎引用關係
指導教授(外文):Chi Ch''''iu-lang
學位類別:博士
校院名稱:淡江大學
系所名稱:英文學系
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:2003
畢業學年度:91
語文別:英文
論文頁數:197
中文關鍵詞:立體主義未來主義抽象表現主義超現實主義多重性文字遊戲流動性抽象或不透明性
外文關鍵詞:CubismFuturismAbstract ExpressionismSurrealismMultiplicityWordplayFluxAbstraction/Opacity
相關次數:
  • 被引用被引用:1
  • 點閱點閱:290
  • 評分評分:系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:6
現代藝術理論當中之立體主義、漩渦主義、未來主義、抽象表現主義及超現實主義,與現代詩當中之多重性、文字遊戲、流動性及抽象或不透明性有其相關連處。現代詩裡肢解破碎之意象與交錯重整之言辭,予人波動、謎樣甚或隱晦之感覺。繪畫則穿梭並置了色彩與平面,模糊了空間的板塊與觀者的眼。現代詩具備繪畫性,因為詩人意欲在空間佔有一個時空之融合,引領讀者或觀者去用心伸探晦澀、跌宕變化與虛實之妙。
本論文於第一章探討現代詩如何在意象與遊戲文字當中呈現其視覺與空間感。而退至一個角落處時,個人的孤獨渺茫感呼應於那曠大淒涼的紛擾世界,亦解釋了為何詩人善用空間的圖示於其詩中。因此,第二章藉著現代詩多重性的特質,探討詩與繪畫當中的並置、共時性及拼貼。第三章則探討詩人如何藉重複與轉變來凸顯立體主義畫家的同時性視覺與透明重疊,進而達到虛實互轉之境。極簡主義畫家的簡約以及賦予觀者自由聯想之空間亦可解釋現代詩人之意欲。第四章中漩渦主義與未來主義的動態及互相貫穿的持續形象,呼應了現代詩的飛躍和舞蹈,與詩人急欲解放大地於人心與時局之惡瘤中。第五章則探討現代詩如何如同抽象表現主義或超現實主義作品,引動純粹的心靈自動作用。讀者或觀者奮力掙脫理智的桎梏與美的規範的同時,雖然產生極不安定之感覺,卻也能因觀看位置之差異,藉自由聯想而達到反轉之動感與心靈流動。
現代詩當中的意象,亢奮了讀者血液呼吸之脈動。讀者該如何在詩所給予的不安定感當中,不受限於物象,而潔癖於其思想與感情的變動?詩人給了無限的想像空間,然而這個想像空間卻是依讀者或觀者的感動與心的律動而無涯。
The theories of modern art, such as Cubism, Vorticism, Futurism, Abstract Expressionism and Surrealism, engaged some of Modernist poets’ experiments with the particular features, such as multiplicity, wordplay, flux and abstraction/opacity, in their creation of poetry. The broken images and the dislocation of words and sentences in Modernist poetry suggest the fluid, enigmatic, and sometimes indeterminate while the color or plane areas that interpenetrate and overlap in paintings suggest the blurring edges and indistinct eye’s path. Modernist poetry is picturesque because the breaks with the conventional narrative forms call back the reader-viewer’s delight in the opacity and oxymoron, repetition and variation, visible and invisible.
The dissertation begins with intellectual correlation between Modernist poetry and visuality in Chapter One, and it also explains how Modernist poetry, by the showing of images or word games, becomes multi-dimensional and yields multi-layers of meaning. Besides implying the sense of isolation characteristic of both the real world and the mental state, the implications of the split and multiplicity of images are many and various. Therefore, Chapter Two is developed according to the feature of multiplicity, such as juxtaposition, simultaneity, and collage, applied in both Modernist poetry and paintings. Chapter Three further explains how Modernist poets’ use of repetition and variation takes on a Cubist intensity of perspective and facets that also echo and contrast with one another at the same time, how their use of diagrammatical orders in sentences, like assemblage art, introduces a wide range of materials and forms into the poetry, and how Minimal art corresponds to the technique of Marianne Moore. Chapter Four then reveals why and how Modernist poets regard fluidity as a desirable and innovative feature, and coincide with the characteristics of Vorticism and Futurism. Chapter Five analyzes how Modernist poets allow the unconscious a more dominant role and work the drive of abstraction toward opacity up into their poetry by the antirational strategies of Abstract Expressionism and Surrealism. Chapter Six then traces all the features revealed in Modernist poetry and art to highlight the visual elements in Modernist poetry, and the importance of the reader-viewer’s position and his/her sensibility of viewing and comprehension.
By marking a major division in a sentence, and indicating what follows may be an incompletion or implication, Modernist poets direct their reader into a state of uncertainty. How is the reader to fill in the blanks? These poets need to make visible the inherent complexity and incompleteness in their poetry because when transposed to such a visual representation, fantasy or psychic association is shaped simultaneously. Fantasy is, in particular, the property and province of the reader-viewer, rather than that of the poets themselves.
Contents
List of Illustrations i
Chapter One Introduction 1
I. Spatialization in Modernist Poetry 2
II. Vision in Zen Buddhism 8
III. James Joyce’s Epiphany/Wordsworth’s “Spots of Time” 11
IV. Romantic Vision versus Modernist Vision 16
Chapter Two Multiplicity 28
I. Simultaneity/Juxtaposition 30
II. Collage/Montage 47
Chapter Three Wordplay 61
I. Repetition and Variation 63
II. Liberal Syntax and Punctuation 77
Chapter Four Flux 92
I. Machine/Force/Vortex 93
II. Dynamism 99
III. City 104
IV. Flow 109
Chapter Five Abstraction/Opacity 124
I. Instability/Unconscious 127
II. Enigma/Unintelligibility 134
III. Intuition/Automatism/Improvisation 144
IV. Surreal Image/Dual Image 154
Chapter Six Conclusion 167
I. Why Split? Why Collage? 168
II. Why Play? 173
III. Why Dance? Why Flow? 178
IV. Why Mysterious? 183
Works Cited 189
Illustrations 198
Works Cited
Ades, Dawn. “Dada and Surrealism.” Concepts of Modern Art: From Fauvism to Postmodernism. Ed. Nikos Stangos. London: Thames and Hudson, 1995.
Apollonio, Umbro, ed. Futurist Manifestos. New York: Viking, 1972.
Barthes, Roland. Writing Degree Zero. Trans. Annette Lavers, and Colin Smith. New York: Hill & Wang, 1968.
---. The Pleasure of the Text. Trans. Richard Miller. New York: Noonday, 1994.
Bishop. Elizabeth. “The Man-Moth.” Elizabeth Bishop: The Complete Poems, 1927-1979. New York: Farrar, 1984. 14-15.
Blake, William. “The Marriage of Heaven and Hell.” Blake’s Poetry and Designs. Ed. Mary Lynn Johnson, and John E. Grant. New York: Norton, 1979. 81-102.
Bloom, Harold. Modern Critical Views: Marianne Moore. New York: Chelsea, 1987.
Bohn, Willard. The Aesthetics of Visual Poetry, 1914-1928. Cambridge: Cambridge UP, 1986.
Bradburym, Malcolm. Innovation/Renovation: New Perspectives on the Humanities. Ed. Ihab Hassan, and Sally Hassan. Madison, Wis.: U of Wisconsin P, 1983.
Brogan, Jacqueline Vaught. Part of the Climate: American Cubist Poetry. Berkeley: U of California P, 1991.
Brooker, Jewel Spears Brooker. Mastery and Escape: T. S. Eliot and the Dialectic of Modernism. Amherst: U of Massachusetts P, 1994.
Butler, Christopher. Early Modernism: Literature, Music, and Painting in Europe, 1900-1916. New York: Oxford UP, 1996.
Césaire, Suzanne. “André Breton, Poet.” Surrealist Women. Ed. Penelope Rosemont. Austin: U of Texas P, 1998.
Chipp, Herschel B. Theories of Modern Art: A Source Book by Artists and Critics. Berkeley: U of California P, 1968.
Coleridge, Samuel Taylor. Coleridge’s Miscellaneous Criticism. Ed. Thomas M. Raysor. Cambridge, Mass.: Harvard UP, 1936.
Cummings, E. E. “Sunset.” Part of the Climate. Ed. Jacqueline Vaught Brogan. Berkeley: U of California P, 1991. 96-97.
---. “Three Portraits.” Part of the Climate. Ed. Jacqueline Vaught Brogan. Berkeley: U of California P, 1991. 97-99.
Drucker, Johanna. Theorizing Modernism: Visual Art and the Critical Tradition. New York: Columbia UP, 1994.
Eliot, T. S. The Sacred Wood. London: Faber and Faber, 1927.
---. “Four Quartets.” T. S. Eliot: Collected Poems, 1909-1962. San Diego: Harcourt, 1991. 173-209.
---. Knowledg and Experience in the Philosophy of F. H. Bradley. London: Faber and Faber, 1964.
---. “The Love Song of J. Alfred Prufrock.” T. S. Eliot: Collected Poems, 1909-1962. San Diego: Harcourt, 1991. 3-7.
---. Selected Essays. New York: Harcourt, 1950.
---. The Waste Land. Taipei: Hsin Ya, 1984.
Everitt, Anthony. “Abstraction Expressionism.” Modern Art: Impressionism to Post-Modernism. Ed. David Britt. London: Thames and Hudson, 1992.
Faerna, José María, ed. De Chirico. Trans. Diane Cobos. New York: Abrams, 1995.
Fichner-Rathus, Lois. Understanding Art. Eaglewood: Prentice, 1995.
Foucault, Michel. This Is Not a Pipe. Los Angeles: U of California P, 1982.
---. “What Is An Author.” Critical Theory Since 1965. Ed. Hazard Adams, and Leroy Searle. Tallahassee: UP of Florida, 1992.
Frank, Joseph. “Spatial Form in Modern Literature.” The Widening Gyre: Crisis and Mastery in Modern Literature. Bloomington: Indiana UP, 1968.
Gablik, Suzi. “Minimalism.” Concepts of Modern Art: From Fauvism to Postmodernism. Ed. Nikos Stangos. London: Thames and Hudson, 1995.
Golding, John. “Cubism.” Concepts of Modern Art: From Fauvism to Postmodernism. Ed. Nikos Stangos. London: Thames and Hudson, 1995.
Goldwater, Robert, and Marco Treves, eds. Artists on Art. New York: Pantheon, 1945.
Hulme, T. E. Further Speculations. Ed. Sam Hynes. Minneapolis: U of Minnesota P, 1955.
Jaffé, Hans L. C. Pablo Picasso. New York: Abrams, 1983.
Krauss, Rosalind. “In the Name of Picasso.” Art in Modern Culture: An Anthology of Critical Texts. Ed. Francis Frascina, and Jonathan Harris. London: Phaidon, 1995.
Lentricchia, Frank. Modernist Quartet. New York: Cambridge UP, 1994.
Lessing, Gotthold Ephraim. Laocoon: An Essay upon the Limits of Painting and Poetry. Trans. Ellen Frothingham. New York: Noonday, 1957.
Levinas, Emmanuel. Collected Philosophical Papers of Emmanuel Levinas. Dordrecht: Martinus Nijhoff, 1987.
Livingston, Marco. “Pluralism since 1960.” Modern Art: Impressionism to Post-Modernism. Ed. David Britt. London: Thames and Hudson, 1992.
Locher, J. L., ed. The World of M. C. Escher. New York: Abradale, 1988.
Loy, Mina. “‘The Starry Sky’ of Wyndham Lewis.” The Lost Lunar Baedeker: Poems of Mina Loy. Ed. Roger L. Conover. New York: Farrar, 1996. 91-92.
Lucie-Smith, Edward. Visual Arts in the Twentieth Century. London: Laurence King, 1996.
Marinetti, F. T. “The Founding and Manifesto of Futurism.” Futurism & Futurisms. Ed. Pontus Hulten. London: Thames and Hudson, 1992.
McClatchy, J. D., ed. Poets on Painters. Los Angeles: U of California P, 1988.
Moore, Marianne. “Poetry.” Collected Poems: Marianne Moore. New York: Macmillan, 1968. 40-41.
---. “To a Snail.” Collected Poems: Marianne Moore. New York: Macmillan, 1968. 91.
---. “Those Various Scalpels.” Collected Poems: Marianne Moore. New York: Macmillan, 1968. 57-58.
---. “The Fish.” Collected Poems: Marianne Moore. New York: Macmillan, 1968. 37-38.
---. “A Face.” Collected Poems: Marianne Moore. New York: Macmillan, 1968. 141.
Néret, Gilles. Salvador Dalí: 1904-1989. Köln: Taschen, 1994.
O’Hara, Frank. “Jackson Pollock.” Poets on Painters. Ed. J. D. McClatchy. Los Angeles: U of California P, 1988.
Overy, Paul. “Vorticism.” Concepts of Modern Art: From Fauvism to Postmodernism. Ed. Nikos Stangos. London: Thames and Hudson, 1995.
Paquet, Marcel. René Magritte. Köln: Taschen, 1994.
Pierrot, Jean. The Decadent Imagination, 1880-1900. Trans. Derek Coltman. Chicago: U of Chicago P, 1981.
Pound, Ezra. Literary Essays of Ezra Pound. London: Faber and Faber, 1954.
---. Gaudier-Brzeska. New York: New Directions, 1970.
---. “Game of Chess.” English 377: Modern Poetry, Painting, and Music. 3 Oct. 1999. <http://wings.buffalo.edu/english/faculty/conte/syllabi/
Ezra_Pound.html> (10 June 2003).
Raymond, Marcel. From Baudelaire to Surrealism. London: Metheun, 1970.
Rieke, Alison. The Senses of Nonsense. Iowa City: U of Iowa P, 1992.
Shelley, Percy Bysshe. A Defence of Poetry. Ed. John E. Jordan. Indianapolis: Bobbs, 1965.
Skaff, William. The Philosophy of T. S. Eliot: From Skepticism to a Surrealist Poetic, 1909-1927. Philadelphia: U of Pennsylvania P, 1986.
Smith, Stan. The Origins of Modernism: Eliot, Pound, Yeats and the Rhetorics of Renewal. London: Harvester Wheatsheaf, 1994.
Stein, Gertrude. How to Write. New York: Dover, 1975.
---. “Pictures.” Poets on Painters. Ed. J. D. McClatchy. Los Angeles: U of California P, 1988.
---. Stanzas in Meditation and Other Poems [1929-1933]. Ed. Donald Southerland. Vol. 6. New Have: Yale UP, 1956.
---. “Tender Buttons.” Selected Writings of Gertrude Stein. Ed. Carl Van Vechten. New York: Vintage, 1990. 459-509.
---. “What Is English Literature.” Lectures in America. Boston: Beacon, 1935.
---. “If You Had Three Husbands.” Part of the Climate. Ed. Jacqueline Vaught Brogan. Berkeley: U of California P, 1991. 92-96.
Stevens, Wallace. Letters of Wallace Stevens. New York: Knopf, 1981.
---. “The Irrational Element in Poetry.” Opus Posthumous. Ed. Milton J. Bates. New York: Knopf, 1989.
---. “Anecdote of the Jar.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 76.
---. “An Ordinary Evening in New Haven.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 465-89.
---. “Disillusionment of Ten O’clock.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 66.
---. “Notes toward a Supreme Fiction.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 380-408.
---. “Poetry Is a Destructive Power.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 192-93.
---. “Sunday Morning.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 66-70.
---. “The Man with the Blue Guitar.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 165-84.
---. “Thirteen Ways of Looking at a Blackbird.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 92-95.
---. “The Reader.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 146-47.
---. “Things of August.” The Collected Poems of Wallace Stevens. New York: Vintage, 1990. 489-96.
---. “The Relations Between Poetry and Painting.” Poets on Painters. Ed. J. D. McClatchy. Los Angeles: U of California P, 1988.
Thien-An, Thich. Zen Philosophy, Zen Practice. Berkeley: Dharma, 1975.
Waldman, Diane. Collage, Assemblage and the Found Object. London: Abrams, 1992.
Williams, William Carlos. “The Red Wheelbarrow.” The Collected Earlier Poems of William Carlos Williams. New York: New Directions, 1951. 277.
---. “Spring and All.” The Collected Earlier Poems of William Carlos Williams. New York: New Directions, 1951. 241-42.
---. “The Rose.” The Collected Earlier Poems of William Carlos Williams. New York: New Directions, 1951. 249-50.
Wordsworth, William. The Prelude, 1798-1799. New York: Cornell UP, 1977.
---. Lyrical Ballads, 1798. Oxford: Oxford UP, 1969.
Yeats, W. B. “The Double Vision of Michael Robartes.” The Poems. Ed. Richard J. Finneran. New York: Macmillan, 1990. 170-72.
QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top
系統版面圖檔 系統版面圖檔