巴拉丁斯基哲理抒情诗研究

发布时间：2018-06-15 03:43

本文选题：巴拉丁斯基 + 个体观　；参考：《浙江大学》2013年博士论文

【摘要】：巴拉丁斯基作为俄罗斯哲理诗歌的创始人,他的诗歌成就在俄罗斯和西方早已得到公认。但是在我国有关巴拉丁斯基的研究还是一片空白,甚至连基本的译介工作还未展开,这与他在文学史上的地位极其不相称。在俄罗斯虽然有关巴拉丁斯基的研究已经比较丰富,但关于巴拉丁斯基诗歌中的个体观念问题、时间和空间、过去和未来之间的对话问题还未得到深入探讨与研究。本文以巴拉丁斯基的哲理抒情诗为研究对象,通过对巴拉丁斯基诗歌中的个体观念、故乡和异乡、过去和未来之间的关系以及与未来的对话等一系列问题的研究,以合理推断、层层递进的方式,深入探讨巴拉丁斯基哲理抒情诗创作的艺术特色和艺术价值。本文一共分为六个部分。第一部分即导论部分详细梳理了俄罗斯巴拉丁斯基诗歌研究的历史演变过程以及存在的一些研究盲点,简要介绍了我国巴拉丁斯基诗歌的译介现状和笔者翻译巴拉丁斯基诗歌的体会与感悟,提出了本论文将要研究的任务与解决的方法。第二部分旨在探讨巴拉丁斯基诗歌中的个体观念问题。巴拉丁斯基对“人与世界”的理解从本质上区别于19世纪20年代初占主导地位的浪漫主义的“个体观”。在他的抒情诗中占决定性地位的既不是个人的命运,也不是个性。他笔下的个体形象和个人情感,都不是从属于个体的一部分,而是去个性化的个体,脱离了日常生活,成为抽象化的个体。第三部分旨在探讨巴拉丁斯基诗歌中的故乡问题。故乡与异乡是巴拉丁斯基风景哲理诗中的一对矛盾,没有故乡,则无所谓异乡；没有乡愁,则无所谓故乡。巴拉丁斯基的故乡和乡愁不仅仅通过对于故乡风光和四季景象的直接描写来实现,而且还通过对异国他乡的描述,来反思自身的民族特性。他的诗歌始于怀乡,但并没有终于人生,而是衍生为对时间和永恒的探索。第四部分旨在探讨巴拉丁斯基诗歌中的未来对话问题。巴拉丁斯基诗歌中的时间与现实中的时间并非完全对应,无论春夏秋冬,都包含着关于过去和未来的隐喻。以对话理论来重新细读《秋天》,巴拉丁斯基诗歌的悲剧内涵也许需要重新解读。与未来的对话寄托着关于轮回的美好愿望,也成为了世纪末悲观主义中的一抹亮色。巴拉丁斯基坚信自己的诗歌是“写给未来的读者”,同时代的诗人虽然能成为他的朋友,却无缘作为他真正的读者。第五部分旨在探讨巴拉丁斯基悲观主义诗学中的现代价值。巴拉丁斯基晚期的大部分抒情诗在艺术上都渗透着深刻的悲观主义,以不可调和的二律背反为基础。但是他对于诗歌的看法却极为严肃而积极,认为诗歌担负着人类探索思想极限的责任,是人类理性发展中的重要一环。第六部分即结语部分对前面四部分的主要观点进行了总结,并阐述了巴拉丁斯基研究的现实意义。
[Abstract]:As the founder of Russian philosophical poetry, Baladinski's poetic achievements have long been recognized in Russia and the West. But in our country, the research on Baratinsky is still a blank, even the basic translation and introduction work has not been carried out, which is extremely incompatible with his position in the history of literature. Although the research on Baradinski in Russia has been rich, the question of individual concept, time and space, the dialogue between the past and the future in Baratinski's poetry has not been deeply discussed and studied. This paper takes Baradinski's lyric poetry as the object of study, through the study of a series of problems, such as the individual concept, the relationship between the past and the future, and the dialogue with the future, and so on, in order to reasonably infer. In this paper, the artistic characteristics and artistic value of Baradinski's lyric poems are discussed. This paper is divided into six parts. The first part, the introduction part, combs the historical evolution process and some blind spots of Russian Baladinski poetry research in detail. This paper briefly introduces the present situation of the translation of Baradinski's poems in China, and the author's experience and understanding in translating Baratinski's poems, and puts forward the tasks and solutions to be studied in this paper. The second part aims to explore the concept of individuals in Baradinski's poetry. Baradinski's understanding of Man and the World is essentially different from the Romantic "view of the individual", which dominated in the early 1820s. It is neither personal fate nor individuality that dominates his lyric poetry. His personal image and emotion are not a part of an individual, but a deindividualized individual, separated from everyday life and becoming an abstract individual. The third part aims to explore the hometown of Baratinski's poetry. Hometown and foreign land are a pair of contradictions in Baladinski's landscape philosophy. If there is no hometown, there is no foreign land; without homesickness, there is no hometown. Baladinski's hometown and homesickness are realized not only by the direct description of the scenery and the four seasons, but also by the description of foreign lands to reflect on his own national characteristics. His poetry begins with homecoming, but does not end in life, but as an exploration of time and eternity. The fourth part aims to explore the future dialogue in Baratinski's poetry. The time in Baratinski's poetry is not exactly corresponding to the time in reality. Whether in spring, summer, autumn or winter, it contains metaphors about the past and the future. The tragic connotation of Baradinski's poetry may need to be reinterpreted. The dialogue with the future assigns a good wish for reincarnation and becomes a bright spot in pessimism at the end of the century. Baladinski firmly believes that his poems are "written to the future readers," the contemporary poet, although he can become a friend, but not as his true readers. The fifth part aims to explore the modern value of Baradinsky's pessimism poetics. Most of Baratinsky's later lyric poems are deeply pessimistic in art, based on irreconcilable two-law recitation. However, his views on poetry are very serious and positive, and he thinks that poetry bears the responsibility of exploring the limits of human thought and is an important link in the development of human rationality. The sixth part, the conclusion, summarizes the main viewpoints of the first four parts, and expounds the practical significance of Baradinsky's research.
【学位授予单位】：浙江大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I512.072

【共引文献】