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A STUDY OF MODERNIST IMAPACT UPON MODERN BRITISH LITERATURE WITH A PARTICULAR FOCUS ON GRAVES/RIDING ARTISTIC RELATIONSHIP

现代主义对现代英国文学影响的研究，特别关注坟墓/骑马的艺术关系

基本信息

批准号：
08610482
负责人：
SONOI Eishu
金额：
$ 1.54万
依托单位：
KYUSHU UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1996
资助国家：
日本
起止时间：
1996 至 1998
项目状态：
已结题

项目摘要

The primary aim of this study has firstly been to prove how modernist impact upon the 20th century literature in Britain in the early tens and twenties was not wholly imbued as might typically be proved by the tenacity of the Georgian sentiment which survived through the war, and secondly, as its case study, to focus on the artistic relationship between Robert Graves and Laura Riding, then a fresh emigr_ out of the American literary taste of the Fugutive movement, and finally to confirm Graves's poetic stance which essentially remained as anti-modernistic despite the intense impact by Riding as proving sui generis strength of the vein of the British poetic sensibility which was traditionally handed down. The points of discussion are summarised as follows :1) The quality of modernist poetics which was put forth in the early 20th century poetic scene of the British literature, particularly by Pound and Eliot, was not so much a new and fresh repulsion against the Georgian style as simply … More a semi-avant-garde style which retained its original nature of the French symboliste poetry, that is elitist, theoretical and obscurant. It is these foreign characteristics that are aesthetically incompatible with the British literary trend whatever it is, which has never been colonised by modernism.2) The strength of the Georgian sensibility has been preserved by the war poets such as Owen, Sassoon, Edward Thomas, Ivor Gurney and Edmund Blunden. Their poetic insight, although they spoke in the extreme situation of trench warfare and death, unfalteringly reflect such Georgian sentiments as nature, life, memory and experience with ordinary poetic rhythm. It remained as the vernacular poetic sensibility throughout the modernist showing off of human predicaments with its extremely elitist sensibility.3) The artistic relationship between Graves and Riding involves complex nature of the influencer and the influenced since Graves develops his own poetic quality notwithstanding his recognition of being Riding's prot_g_ through his artistic experience with her. Graves's reintegration of his poetic identity in post Riding period was an artistic necessity.4) Aesthetic and stylistic characteristics of Graves's poetry remained intact despite their long collaboration period and isolated poetic ambience. Graves's poetic liberation from the impact of modernist Riding coincides with his acute awareness that his intrinsic quality belongs to the traditional sensibility of British poetry. Less

本研究的主要目的首先是证明现代主义对20世纪世纪早期英国文学的影响并不完全像在战争中幸存下来的格鲁吉亚情绪的坚韧所证明的那样，其次，作为案例研究，重点关注罗伯特·格雷夫斯和劳拉·雷丁之间的艺术关系，然后是一个新的流亡者的美国文学品味的逃亡运动，并最终确认格雷夫斯的诗歌立场，基本上仍然是反现代主义的，尽管激烈的影响，骑马作为证明独特的力量的静脉，英国诗歌的敏感性，这是传统的传承。本文主要讨论了以下几个问题：（1）20世纪世纪初英国诗坛上，尤其是磅和艾略特所提出的现代主义诗学的性质，与其说是对乔治风格的一种新鲜的排斥，不如说是一种简单的 ...更多信息一种半前卫的风格，保留了法国象征主义诗歌的原始性质，即精英主义，理论和蒙昧。正是这些外国特色在美学上与英国文学潮流格格不入，无论它是什么，它从未被现代主义殖民过。2）乔治时代情感的力量被欧文、萨松、爱德华托马斯、艾弗·格尼和埃德蒙·布伦登等战争诗人所保留。他们的诗的洞察力，虽然他们在战壕战和死亡的极端情况下发言，但以普通的诗的节奏，坚定不移地反映了格鲁吉亚人对自然、生活、记忆和经验的感情。在现代主义对人类困境的展示中，它始终以其极其精英主义的敏感性作为白话诗歌的敏感性。3）格雷夫斯与雷丁之间的艺术关系涉及影响者和被影响者的复杂本质，因为格雷夫斯尽管承认自己是雷丁的门徒，但仍发展了自己的诗歌品质在后骑马时期，格雷夫斯对自己诗歌身份的重新整合是一种艺术上的必然。尽管两人长期合作，诗歌氛围孤立，但格雷夫斯诗歌的美学特征和文体特征并未受到影响。格雷夫斯的诗歌从现代主义骑马的影响中解放出来，这与他敏锐地意识到他的内在品质属于英国诗歌的传统情感是一致的。少