摘要
诗歌从诞生之日起,就与其他艺术密不可分。可以说诗歌的本质便是跨艺术的,诗学的本质也是跨艺术的,从跨艺术的视角进行诗歌研究是诗学的应有之义。欧美跨艺术诗学的源头可追溯到亚里士多德的《诗学》和莱辛的《拉奥孔》,但深入的批评实践和理论研究是随着文化研究和比较文学平行研究的兴起而发展的。跨艺术诗学在20世纪60年代兴起,90年代发展为一门显学,其核心概念"艺格符换"一直是研究热点,有学者亦称之为"艺格符换诗学"。论文梳理了欧美跨艺术诗学半个多世纪来的发展变化,考察"艺格符换"一词从修辞学用语到诗歌体裁进而到文艺批评术语在内涵和外延上的演变,并对国内外研究现状进行比较评析,为学界进一步的研究提供借鉴。
Poetry has been entangled with other forms of art since its inception so that it is arguable that poetry is essentially interartistic, the study of which from an interart perspective is congenial to the nature of poetics. The European and American interart poetics originates from Aristotle’s Poetics and Lessing’s Laocoon. The systematic theorizing and insightful critical practice of interart poetics, also known as "the poetics of ekphrasis" by many scholars, however, starts along with the rise of the cultural studies and the "American" school of comparative literature in the 1960 s, and has boomed since 1990 s, whose key concept of "ekphrasis", has always been the buzzword. This paper makes an overview of the development and changes of contemporary interart poetics in Europe and the United States in the past half century, and examines the evolution of the term "ekphrasis" in connotation and extension from a rhetoric term to a poetic genre and to a literary criticism term, thus shedding light on the new areas to be explored of the interart poetics in the near future.
作者
欧荣
OU Rong(School of International Studies,Hangzhou Normal University,Hangzhou 311121,China)
出处
《上海交通大学学报（哲学社会科学版）》
CSSCI
北大核心
2020年第4期126-137,共12页
Journal of Shanghai Jiao tong University(Philosophy and Social Sciences)
基金
国家社科基金重点项目“欧美跨艺术诗学研究”(批准号:14AWW001)的阶段性成果
杭州市哲社重点研究基地“杭州师范大学外国文学与话语传播研究中心”资助。
