ModernismEzraPound2013分析.ppt

EzraPound,EzraPound(18851973),EzraPound(18851973),1.IntroductiontoPound2.Imagism意象主义3.Modernism现代主义4.东方哲学映衬对比;音乐性短句,CommentsonEzraPound,Asanoutstandingfigureintheearlyhistoryofmodernism,EzraPoundiscentral,inspiringandintriguing.PoundispersonallyresponsiblefortherenewalofEnglishpoetryinthe1910s.editedTheWasteLandSerializedsomeUlyssesaccomplishedsomeamazinglyoriginalwork.,CommentsonEzraPound,T.S.EloithascalledPoundtheinventorofChinesepoetryforthe20thcentury.PoundtranslatedChinesepoetryintoEnglishanddevelopedanaesthetictheoryrootedinanontologyntldin.本体论ofChinesewriting.,CommentsonEzraPound,Hisownsignificantcontributionstopoetrybeginwithhispromulgation(spread)ofImagism,amovementinpoetry.,CommentsonEzraPound,Heinfluencedandinsomecaseshelpedpromotesuchprominentpoetsandnovelistsas：WilliamButlerYeats,T.S.Eliot,JamesJoyce,RobertFrost,D.H.Lawrence,andErnestHemingway.,Imagism(来源),asaliterarymovementinpoetry,itderiveditstechniquesfromFrenchsymbolismChinesepoetryandJapanesehaiku,-akindofshortJapanesepoemconsistingofseventeencharacters以十七个音为一首的一种日本短诗-郑振铎蝴蝶的文学：“在日本的俳句里，蝴蝶也成了他们所喜咏的东西。”-河岸似前额青柳写双眉蝴蝶翩翩舞落花疑返枝-荒木田守武,日本俳句（haiku）,芭蕉的诗风可以用“闲寂风雅”四个字来概括。像他的名句古池就是通过闲寂的独特表现力来产生艺术的风雅美的：“闲寂古池旁，青蛙跳进水中央，扑通一声响。”赏樱：“树下肉丝、菜汤上，飘落樱花瓣。”这首俳句了有了明显的生活气息，但是那股子闲寂依旧透过文字扑面而来。芭蕉还有一首春雨深受芥川龙之介推许：“春雨霏霏芳草径，飞蓬正茂盛。”,“俳圣”松尾芭蕉,下面是芜村的四首俳句：“秋风寂寥，酒肆吟诗有渔樵。”“春雨细细落，润泽沙滩小贝壳。”“蔷薇开处处，想似当年故乡路。”“春已归去，樱花梭巡而开迟。”,谢芜村,Imagism(精髓),ItbeganwithanEnglishphilosopher,ThomasErnestHulme,flourishedinAmericafrom1909-1917,andwaschampionedbyEzraPound.Itstressed:clarity,precision,freeversemusicalrhythmclearconcreteimages,ThethreeImagistpoeticprinciples,1._ofpoeticsubjects,2._ofmerelyornamentalorsuperfluouswords,3.and_inthesequenceofthemusicalphraseratherthaninthesequenceofa“_”.(节拍器)(直接表现主客观事物,删除一切无助于“表现”的词语,以口语节奏代替传统格律。),directtreatment,elimination,rhythmicalcomposition,metronome,Imagism(影响1),Asamovement,itflourishedonlybriefly,buthadconsiderableinfluenceonthedevelopmentofformandsubjectmatterinmodernpoetry.Imagismisarebellionagainstthetraditionalpoeticswhichfailedtoreflectthenewlifeofthenewcentury.,Imagism(影响2),Themovementwasatrainingschoolinwhichmanygreatpoetslearnedtheirfirstlessonsinthepoeticart.poetslikeT.S.Eliot,William.CarlosWilliamsandE.E.Cunnings,recognizingstrengthsinimagistphilosophies,usheredinawholeneweraofpoeticexperimentation.,Modernism,Time:thelate19thcenturyandextendedtothewhole20thcentury.Ideas:characterizedbysuchmovementasSymbolism,Imagism,Futurism,Expressionism,Dadaism,Surrealism.existencialism,theatreoftheabsurd,andblackhumour.,Representatives：InFiction:JamesJoyceUlysses(novel),VirginiaWoolfsTotheLighthousetechniqueofstreamofconsciousness,D.H.LawrencesSonsandLovers.WilliamFaulknersSoundandtheFury,ErnestHemingwayFarewelltoArmsInPoetry:(Ireland)WilliamButlerYeats,T.S.EliotsTheWasteLand.IntheUSA,EzraPound,WilliamCarlosWilliams,(1883-1963),Americanpoetandphysician.Hewrotestories,playsandautobiographiesaswellaspoems.HemetandbefriendedEzraPound,andwasinfluencedbyPound.BiographicalFactsHewasborninNewJersey,U.S.1883.HereceivedhisM.D.fromtheUniversityofPennsylvania.Hesustainedhismedicalpracticethroughouthislife.HediedinVienna,Austria,1963.,PoeticFeatures,RelaxedcolloquialismVividPresentationEloquentpassagesofbeautifullycontrolledrhythmandphrasingHissubjectmatterwascenteredontheeverydaycircumstancesoflifeandthelivesofcommonpeople.,TheRedWheelbarrow,Somuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickens.,Whataretheimagesinthispoem?,“红色手推车”简评,红色手推车是一幅色彩鲜明的日常生活画面，描述的是一个躲雨时见到的场景，躲雨的地方大概太小，所以人虽然躲了进去，手推车却还是淋得透湿。与它运送的东西相比，手推车显得似乎小了点，所以才引起诗人“那么多”的感慨。况且还被雨水浇得它“浑身溜滑”。可以想象那个始终没有露面的“推车人”的辛劳，不免对他（她）产生一丝同情。但“旁边有几只白鸡”一句，使我们眼前一亮。想想看，在雨中，天色也许比较灰暗。但手推车的“红色”与几只鸡的“白色”却是那么的耀眼，何况鸡还是一个活动的东西，与停放在那里的手推车，正好又构成了一动一静的对比。生活的辛劳、躲雨时的焦躁，被几只“白鸡”的出现一扫而空。威廉斯选择红、白对比色以及经雨水冲洗后的锃亮，写出了人类与大自然共创理想生活的一面。威廉斯用红色装饰手推车的轮子，隐喻人类积极的劳动，劳动造就了人类积极向上的欢快精神，用“小鸡”和“雨水”来表达他对自然的崇敬。威廉斯的红色手推车仿佛是一幅西洋油画，色彩鲜明，线条突出，立体感强，折射出大自然的光亮，整体画面宁静完美，富有和谐感，它向世人展示了20世纪美国人民的时代精神追求以及一代美国诗人的民族情结。,红色手推车,那么多东西依靠一辆红色手推车雨水淋得它晶亮旁边是一群白鸡,那么多东西仰仗这辆红色的手推车运送雨水浇得它浑身溜滑旁边有几只白鸡,选自彭予编译二十世纪英美抒情诗选,ChineseConnectionwithImagism,AChineseimagisticpoetry:AutumnEveningcrowsperchonoldtreeswreathedwithwitheredvine,Waterofastreamflowsbyafamilycottagenearatinybridge.Aleanhorsewalksonanancientroadinwesternbreeze,Thesunissettinginthewest,Theheart-brokenoneisattheendoftheEarth.天净沙秋思马致远枯藤、老树、昏鸦，小桥、流水、人家，古道、西风、瘦马，夕阳西下，断肠人在天涯。,比较翟里斯怨歌行英译与庞德对翟理斯怨歌行译诗的修改：原文：新裂齐纨素，鲜洁如霜雪。裁为合欢扇，团团如明月。出入君怀袖，动摇微风发。常恐秋节至，凉飙夺炎热。弃置箧笥中，恩情中道绝。,译诗：TheAutumnFanOfairwhitesilk,freshfromtheweaversloom,Clearasthefrost,brightasthewintersnow-See!friendshipfashionsoutoftheeafan,RoundastheroundmoonshinesinheavenaboveAthome,abroad,aclosecompanionthou,Stirringateverymovethegratefulgale.AndyetIfear,ahme!Thatautumnchills,Coolingthedyingsummerstorridrage,Willseetheelaidneglectedontheshelf,Allthoughtofbygonedays,likethembygone,庞德修改后译文：AFanPiece,ToherLordOfanofwhitesilk,Clearasfrostonthegrass-bladeYoualsoarelaidaside.庞德通过“洁白的绸扇”，“你”两个意象对照，又通过“你”和“她的帝王”两个意象形成呼应，绸扇和绸扇主人被人遗弃、幽居冷宫的诗意自然流露。庞德一改翟里斯的铺成和缠绕，采用意象并置的技巧使诗歌简洁、坚实、硬朗且诗意缠绕。因此，庞德从19世纪的浪漫主义诗人的东方猎奇，转向了对东方诗歌的内部技巧的实践。,TakingLeaveofAFriend-Pound送友人-李白,Bluemoutainstothenorthofthewalls,Whiteriverwindingaboutthem;HerewemustmakeseparationAndgooutthroughathousandmilesofdeadgrassMindlikeafloatingwidecloud,SunsetlikethepartingofoldacquaintancesWhobowovertheirclaspedhandsatadistance.Ourhorsesneightoeachotheraswearedeparting.,青山横北郭白水绕东城此地一为别孤蓬万里征浮云游子意落日故人情挥手自兹去萧萧班马鸣,InaStationoftheMetro,Theapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.,AppreciationofInaStationoftheMetro,1.ThepoemisanobservationofthepoetofthehumanfacesseeninaParissubwaystation2.Theword“apparition”,withitsdoublemeaning,bindsthetwoaspectsoftheobservationtogether:Apparitionmeaning“appearance”,inthesenseofsomethingwhichappears,orshowsup;somethingwhichcanbeclearlyobserved.神奇的现象Apparitionmeaningsomethingwhichseemsrealbutperhapsisnotreal;somethingghostlywhichcannotbeclearlyobserved.鬼怪,幽灵,AppreciationofInaStationoftheMetro,3ItlookstobeamodernadoptionoftheJapanesehaiku.4.Thepoemsucceedslargelybecauseofitsinternalrhymes:station/apparition;Metro/petals/wet/crowd/bough.5.Whethertruthormyth,thepiecehasbecomeafamousdocumentinthehistoryofImagism.,ThemeofInaStationoftheMetro,Heseesthefaces,turnedvariouslytowardlightanddarkness,likeflowerpetalswhicharehalfabsorbedby,halfresisting,thewet,darktextureofabough.,ThemeofInaStationoftheMetro,Atanoptimisticlevel,thepoemmayimplythateveninsuchaseeminglyleastprobablecircumstanceasagloomyundergroundrailwaystation,beautycanstillstartlepeoplewithunusualforce.,ThemeofInaStationoftheMetro,Atanotherlessoptimisticlevel,itcombinesasharpvisualimageortwojuxtaposedimages(意象叠加)“Petalsonawet,blackbough”withanimpliedmeaning.Thefacesinthedimlightofthemetrosuggestboththeimpersonalityandhasteofcitylife,andthegreatertransienceofhumanlifeitself.,AppreciationofInaStationoftheMetro,Trytotranslatethepoembyyourselffromthesetwoaspects.,在地铁站:人潮中这些面容的忽现；湿巴巴的黑树丫上的花瓣。（罗池）地铁车站:人群中这些脸庞的幻影；潮湿又黑的树枝上的花瓣.（成婴）地铁车站:人群中这些面庞的闪现；湿漉的黑树干上的花瓣。（赵毅衡）在地铁车站:这几张脸在人群中幻景般闪现；湿漉漉的黑树枝上花瓣数点。（飞白）地铁站里:出现在人群里这一张张面孔；湿的黑树枝上的一片片花瓣。（张子清）人群里这些脸忽然闪现；花丛在一条湿黑的树枝。（流沙河）人群中，这些面孔的鬼影；潮湿的黑树枝上的花瓣。（余光中）这些面孔浮现于人群；花瓣潮湿的黑树枝（颜元叔）众中梦幻身影，黝湿枝头疏花。（吴其尧）人潮中面孔若隐若现；黝湿树干上花瓣朵朵。,汉译数首,InaStationoftheMetro,合同,我跟你订个合同，惠特曼一长久以来我憎恨你。我走向你，一个顽固父亲的孩子已经长大成人了；现在我的年龄已足够交朋友。是你砍例了新的丛林，现在是雕刻的时候了。我们有着共同的树液和树根一让我们之间进行交易。（申奥译）,AppreciationofThePact,Inthispoem,PoundstartedtofindsomeagreementwithWhitmanesquefreeverse,whichhehadpreviouslyattackedforitscarelessnessincomposition.PoundsubordinatesthesuperficialquarrelwithWhitmanspoeticmeanstotheprofoundbondoftheircommonoriginandmessage.,AppreciationofThePact,TheambivalenceofPoundsresponsetohispoeticforefatherWaltWhitmanreflectshiscomplexsenseofhisAmericanliteraryheritage.Ashewaswellaware,whateverhemightsayinexplanationofWhitmanwouldalsoinsomemeasuredefinehimself.,美国诗歌界认为，庞德写得最出色的意象派诗是“TheRiver-merchantsWife:ALetter”。这首诗是庞德对李白诗长干行的创造，曾入选美国名诗105首，进入美国大学课堂“美国现代诗歌选读”课程，被誉为20世纪美国“最美的诗”。,长干行作者：李白,妾发初覆额，折花门前剧。郎骑竹马来，绕床弄青梅。同居长干里，两小无嫌猜。THERIVER-MERCHANTSWIFE:ALETTERByRihakuWHILEmyhairwasstillcutstraightacrossmyforeheadIplayedaboutthefrontgate,pullingflowersYoucamebyonbamboostilts,playinghorse,Youwalkedaboutmyseat,playingwithblueplumsAndwewentonlivinginthevillageofChokan:Twosmallpeople,withoutdislikeorsus