论“意象派”内部的分歧及庞德对“意象”理论的贡献

张同铸

doi:10.19857/j.cnki.ICL.20236205

论“意象派”内部的分歧及庞德对“意象”理论的贡献

doi: 10.19857/j.cnki.ICL.20236205

张同铸^,

南通大学文学院

详细信息

作者简介:
张同铸,文学博士,南通大学文学院教授,硕士研究生导师。主要研究方向为西方当代文艺理论、美学和英美当代诗学。

通讯作者:
张同铸,E-mail:zhangtongzhu@ntu.edu.cn

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出版历程
- 收稿日期: 2023-04-22
- 录用日期: 2023-05-15

On the Divergence of Imagism and Pound's Contribution to “Image”

ZHANG Tongzhu^,

School of the Liberal Arts, Nantong University

摘要

摘要: “意象派”在英美现代诗歌发展的历史上占据着关键地位。休姆、弗林特、洛威尔等人都为这个运动作出了贡献，但一般认为庞德才是其中最具有决定性的人物。作为一名优秀的组织者，庞德以《诗歌》杂志为阵地，为“意象派”造势，并编撰了诗歌小册子《意象派》。不过在“意象派”内部，庞德曾经受到排斥，并最终离开。几年之后，意象派便结束了。文章认为，这种内部的分歧除了内部领导权之争之外，还体现了其内部成员理论主张上的两种核心区别：是学习法国现代诗理论还是也学习中国传统诗学?庞德并不回避法国的影响。1914年出版的选集直接采用了他自己创造的法语单词“Des Imagists”（意象派）作为标题。然而，与弗林特不同的是，他一直否认“意象派”是法国象征主义的附庸。弗林特和休姆（尤其是休姆）是柏格森理论的热情倡导者，尽管柏格森重视“形象”，但“形象”对他来说只是一个中介，最终导致情绪和直觉。继柏格森之后，休姆将“形象”视为一种中介，直到庞德，他才将“形象”视为具有独立价值的主观情感和客观对象的统一体，从而真正发展为“意象”（为此他创造了一个法语单词“imagisme”），成为“对象”本身（主观对象）。因此，我们推断，庞德在柏格森和休姆的基础上发展了“意象”的概念，赋予了它独立的理论地位，从而促进了诗学的发展。庞德的“意象主义”主张里有着直接或间接来自中国文化和诗歌的影响，这也许才是他能将“形象”向前推进一步发展到“意象”的根本原因。
- 庞德 /
- 意象派 /
- 意象 /
- 弗林特
Abstract: Imagism played a key role in the development of modern English and American poetry. Hulme, Flint, Amy Lowell and others prepared for this movement, but there is no doubt that Pound was the most decisive character. As an excellent organizer, Pound built a momentum for the "Imagist school" by taking the journal Poetry as a model, and compiled "Des Imagistes." However, within the Imagist school, Pound became marginalized, which ultimately led to his departure. A few years later, the Imagist school came to an end. The article believes that this internal disagreement not only reflects an internal leadership dispute, but also reflects two core differences in the theoretical propositions of its members:whether to study only modern French poetic theory or also to study traditional Eastern poetry? Pound did not shy away from the French influence. The anthology published in 1914 directly adopted the French "Des Imagists" as its title. However, unlike Flint, he always denied that "Imagism" is subordinate to French Symbolism. Flint and Hulme(especially Hulme) were passionate advocates of Bergson's theory, and Hulme's advocacy of "image" as a poetic principle originated from Bergson's philosophy. Although Bergson valued "image," "image" is only an intermediary for him, ultimately leading to emotions and intuition. Following Bergson, Hulme regarded "image" as a kind of intermediary, and it was not until Pound that the "image" was seen as a unity of subjective emotions and objective objects with independent value, and thus it truly developed into "imagisme," becoming the "object" itself(subjective object). For this, Pound invented the French word "imagisme." So we infer that on the basis of Bergson and Hulme, Pound developed the concept of "image," granting it an independent theoretical status, thus promoting the development of poetics. The reason why Pound was able to further his understanding of "image" is due to his increasing understanding of Eastern culture and active absorption of its nutrients.
- Pound /
- Imagism /
- image /
- Imagisme

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参考文献(16)

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