摘要
阿根廷作家博尔赫斯在1919-1921年旅居西班牙时加入了“极端主义”诗歌团体,期间创作的诗歌中有若干首以十月革命等政治事件为主题。评论界普遍认为这些诗作表露出博尔赫斯不为人知的革命思想。本文将其置于20世纪20、30年代西班牙语诗歌的理论语境中解读。当时,哲学家奥尔特加-加塞特宣扬的“艺术的去人化”思想,理论家托莱提出的诗歌与现实对立的观点,以及博尔赫斯倡导的“棱镜美学”,共同构成极端主义诗歌运动的理论基础。本文表明这一理论语境令博尔赫斯的革命诗歌的意义产生了不确定性,显示出自称欧洲先锋文学的极端主义在美学理论、创作实践和批评实践之间的自相矛盾和两难困境。
From 1919 to 1921,Jorge Luis Borges sojourned in Sevilla and Madrid of Spain,where he met the“Ultraista”group.The Ultraistas advocated a Spanish avant-garde poetic movement,in which Borges took part actively.In his poetry written in this period,on one hand,Borges tried to renew the poetic aesthetic proposing the aesthetic of prisma,in accordance with the principles of“dehumanization of art”,formulated by the Spanish philosopher Ortega y Gasset;on the other,he also incorporated political events such as the Russian Revolution as poetic themes.In the context of the dehumanization of art,his intention of social compromise could have been deconstructed,and this demonstrates the contradiction between the aesthetic theory and the textual and critic practice of the Spanish Avant-Garde movement.
出处
《国外文学》
北大核心
2023年第2期81-90,共10页
Foreign Literatures
基金
国家社会科学基金一般项目“博尔赫斯作品中的西方话语研究”(项目编号:18BWW073)的阶段性成果。
