發(fā)布時(shí)間：2024-04-15 21:41

　　作為美國(guó)紐約派詩(shī)歌的奠基人之一,弗蘭克·奧哈拉(1926-1966)一直被視為紐約藝術(shù)圈的靈魂人物。20世紀(jì)中葉,美國(guó)抽象表現(xiàn)主義繪畫在紐約地區(qū)蓬勃發(fā)展,助推紐約取代巴黎,成為新的世界文化中心。這一畫派作品風(fēng)格迥異,注重自我主體意識(shí)的表現(xiàn),在繪畫理念和表現(xiàn)形式等方面突破傳統(tǒng)理念的束縛,對(duì)當(dāng)時(shí)的藝術(shù)和文學(xué)產(chǎn)生很大影響。奧哈拉與這些藝術(shù)家交往密切,經(jīng)常合作。他的作品吸收了抽象表現(xiàn)主義的技巧和概念,并在《單人主義:一個(gè)宣言》中提出了自己的創(chuàng)作觀念。本文從抽象表現(xiàn)主義繪畫理念出發(fā),探討奧哈拉的詩(shī)歌及其創(chuàng)作理念的成因。在《單人主義》宣言中,奧哈拉具體闡釋其創(chuàng)作理念,同時(shí)表達(dá)出一種對(duì)主體存在和缺席的模糊態(tài)度。一方面他主張偏自白派的詩(shī)風(fēng),其大部分詩(shī)歌都是自發(fā)、隨意和直接的,向讀者展示破碎的自我;另一方面,詩(shī)人擔(dān)心隨著社會(huì)的快速發(fā)展,人們極端追求速度和效率,主體被忽視或缺席的焦慮感隨著時(shí)間的飛逝而與日俱增。論文通過文本細(xì)讀,探討詩(shī)人是如何將繪畫等藝術(shù)融入其詩(shī)歌的創(chuàng)作中,以期幫助讀者更好地理解奧哈拉及紐約派詩(shī)人群體。引言部分首先對(duì)弗蘭克·奧哈拉、抽象表現(xiàn)主義和繪畫詩(shī)的概念進(jìn)行了介紹。此外,還對(duì)國(guó)內(nèi)外學(xué)者...

【文章頁(yè)數(shù)】：84 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
Acknowledgements
Abstract
摘要
Introduction
Chapter One Openness: Free Choice of Subjects and Avoidance of Order
    1.1 Inclusiveness
        1.1.1 Subject Matters from Street Gossips to Sensitive Issues
        1.1.2 Colloquial Language
        1.1.3 Chinese and French Elements
    1.2 Disorder
        1.2.1 Automatic Writing of Recording Illogical Consciousness
        1.2.2 Fragmentation both in Form and Content
Chapter Two Conversation: Interaction and Collaboration
    2.1 Coterie Writing
        2.1.1 Group Game with Other Poets and Readers
        2.1.2 Painterly Poems Collaborated with Abstract Expressionists
    2.2 Artistic Intermingling
        2.2.1 Adoption of Music into Poetry
        2.2.2 Connecting Films and Opera with Poetry
Chapter Three Personism: Ambiguity of Presence and Absence
    3.1 Confessional Style
        3.1.1 Various Images of Self
        3.1.2 Address and Audience
    3.2 Detached Observation
        3.2.1 Anxiety of Being Absent
        3.2.2 Art as a Weapon to Fight against Death
Conclusion
Works Cited
AppendixⅠ
Appendix Ⅱ
Appendix Ⅲ



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