摘要
亨利·大卫·梭罗的《瓦尔登湖》并非自然生活的表层描摹,而是其以瓦尔登湖畔两年余的独居实践为载体,以超验主义哲学为思想原点,逐步向深层生态关怀跃迁的精神结晶。从生态批评理论视角审视,《瓦尔登湖》的创作早于现代生态运动的兴起,梭罗以湖畔生存体验为叙事线索,重构人与自然的价值关系,倡导“简朴生活”的生存范式,完成了超验主义从“个体精神思辨”向“深层生态意识”的范式转化。从文学阐释维度而言,梭罗以哲性化笔触、深邃的生态思考与独特的叙事策略,将超验主义符号体系与生态和谐理念有机融合,既突破了传统超验主义的思辨局限,又为后世生态文学创作确立了典范,更为当代人与自然和谐共生的生态文明建设提供了重要的思想资源与理论参照。
Henry David Thoreau's Walden is not a superficial depiction of life in nature.Rather,it represents the crystallizationof more than two years of solitary living by Walden Pond.Rooted in Transcendentalist philosophy,the workgradually develops a concern with what may be described as deep ecology.From the perspective of ecocriticism,Waldenwas written long before the rise of modern environmental movements.Drawing on his lived experience by the lake as anarrative thread,Thoreau reconsiders the value relationship between human beings and nature.He advocates a mode ofexistence centered on“simple living”and,in doing so,guides Transcendentalism away from individual spiritualcontemplation toward a broader form of deep ecological consciousness.At the level of literary expression,Thoreauadopts a philosophical mode of writing while developing sustained ecological reflection through distinctive narrative strategies.Through these means,he integrates the symbolic framework of Transcendentalism with an ideal of ecologicalharmony.In this way,Walden extends Transcendentalist thought beyond its speculative orientation and has exerted alasting influence on the development of ecological writing,while remaining relevant to contemporary discussions ofecological ethics and harmonious human-nature coexistence.
作者
牛莉
NIU Li(School of Foreign Studies,South China Agricultural University,Guangzhou 510642,China)
出处
《长春师范大学学报》
2026年第3期124-130,共7页
Journal of Changchun Normal University
基金
广州市哲学社会科学“十四五”规划2024年度共建课题“广州地域文化与英美生态主义文学的交融研究”(2024GZGJ48)。
