摘要
作为诗歌思潮的象征主义与作为艺术理论的象征主义是重合的,但又有差异。前者更强调表现手法和技巧在创作中的使用,而后者则是对其根本特征、来源(尤其是哲学基础)与分期做理性探讨。作为理论的象征主义,其根本特征是对于两个世界相互感应的思考,其来源为唯美主义和叔本华哲学,其分期伴随时空不同,逐步弥漫。中国人对象征主义的接受,主要集中于表现手法和技巧,而不是理论沉思。事实上,不管作为文学思潮还是理论流派,象征主义在中国始终都没有进入主流。
Though the symbolism as poetic trend of thoughts and that as art theory coincides,there are some differences between them. The former stresses the use of methods and techniques of performance in composition,while the latter pays much attention to probing its basic feature,origin and division. As symbolism in theory,its basic feature is the thoughts of mutual response to the two worlds,and it derives from aestheticism and Shu Benhua＇s philosophy. Chinese people accept symbolism as that it centers on the presentation and technique instead of pondering over its theory. In fact, symbolism in China has not been the main trend whether it is as literary trend of thoughts or as school of theory.
出处
《滨州学院学报》
2005年第4期65-70,共6页
Journal of Binzhou University
