摘要
在20世纪头二十年里,黑塞以画家、诗人和评论家等身份与表现主义艺术家有着广泛交往并置身于该运动,他接受表现主义的影响浓缩在早期最具"革新性"的小说《克林格梭尔最后的夏天》中。该小说不仅用文字打通视觉、听觉,表达其强烈内心张力,探索战后由群体责任到个体责任的内在反省之道,体现了黑塞所认定的"向内转"这一表现主义"新精神",而且与转向东方思想相连,使一个"痛苦""忧郁"的变异李白形象成为一种表现主义的表达方式。
As a painter, poet, and critic, Hermann Hesse had extensive contacts with Expressionist artists and got involved in their movement during the first two decades of the 20th century. The influence he had received from Expressionism is reflected, in a focalized way, in Klingsors letzter Sommer, the most "innovative" novella written in the early period of his career. The work not only uses synaesthesia to express the strong inner tension and explore the post-war shift of the internal introspection from collective duty to individual responsibility in a way that embodies "turning inward" —the "new spirit" of Expressionism endorsed by Hesse, but also embraces the idea of turning eastward, thus transforming the image of the "miserable," "melancholy," and aberrant Li Bai into a kind of representational mode of Expressionism.
作者
詹春花
Zhan Chunhua(School of Humanities,Zhejiang University of Finance and Economy,Hangzhou 310018,China)
出处
《外国文学研究》
CSSCI
北大核心
2021年第3期75-86,共12页
Foreign Literature Studies
作者简介
詹春花,浙江财经大学人文与传播学院副教授,主要从事比较文学研究。
