| 十九世纪末在法国涌现了意味主义潮水。它作用了全球的诗人。意味主义打破了旧的写诗的传统,给文学世界带来新的诗歌。乌克兰和中国的诗人也受了法国意味主义的作用。本文的研究对象是中国的李金发和乌克兰的马克西姆·瑞斯基的诗歌意味。两国诗人接收了法国意味主义的准绳和意象体系,但这无妨他们发明本身奇特的诗。本论文经由过程两人写诗办法和意象体系的比拟,详细指出法国意味主义对其诗艺发生的作用。本论文研究偏向是指出两国意味派配合的表示措施。本论文以比拟法为研究基本。在李金发和瑞斯基的例子上显示出意味分歧表示的能够。本文的结语部门,从中乌文明传统平分别存在的两种分歧立场,总结意味派诗歌的情势特点、内容的客观身分等,对意味派诗歌在中国和乌克兰的接收情形停止描写。是以,本论文立异在于经由过程两国写诗办法和意象体系的比拟详细指出意味主义艺术分歧趋势的成长。 Abstract: At the end of nineteenth Century, the tide of the tide was in France. It affects the world of poets. The doctrine of breaking the old tradition of writing poetry, the literary world brings new poetry. The poets of Ukraine and China are also influenced by the French. The research object of this paper is the poetry of Maxim Raskiy and Ukraine of China in the mean of Li Jinfa. The two poets received French Symbolism and the principle of image system, but the harm they invented their own unique poetry. In this paper, through comparing the process of two way of writing poems and image system pointed out in detail French Symbolism influence on the poetry. This thesis is to show that the two countries means that the two countries means that the means of cooperation. This thesis is based on the comparison method. To show that differences in Li Jinfa and Ruisiji said the example. The conclusion part of this paper, from the two different positions of the traditional Chinese and Ukrainian civilization, summarized the characteristics of the situation and the content of the poem, and the reception of the poetry in China and Ukraine. Is the innovation of this paper is through the process of both poetry and image system compared with that doctrine art differences trend growth means. 目录: 摘要 5-6 Abstract 6 引言 8-9 第一章 象征与法国象征主义 9-16 1.1 象征概念及其在法国的发展 9-11 1.2 法国象征派诗人的世界观与其在他们诗歌技巧的反映 11-16 第二章 李金发与法国象征主义 16-27 2.1 李金发诗歌的特征 16-19 2.2 李金发与法国象征主义的比较 19-27 第三章 马克西姆·瑞斯基与法国象征主义 27-35 3.1 马克西姆·瑞斯基诗歌特征 27-29 3.2 马克西姆·瑞斯基与法国象征主义的比较 29-35 第四章 象征主义在乌克兰和中国诗人中的不同表现 35-41 4.1 瑞斯基和李金发诗歌艺术的比较 35-36 4.2 乌克兰和中国诗人象征主义艺术表现的不同 36-41 结论 41-43 参考文献 43-45 作家简历 45 |
