【作者】 霍红宇；

【导师】 张定铨；

【作者基本信息】 上海外国语大学 ， 英语语言文学， 2008， 博士

【摘要】 当代美国著名诗人,佛学推广者,普利策诗歌奖得主加里·斯奈德的诗歌历程西起美国加州山区,东至日本京都禅院,从地理时空和文化维度上跨越了太平洋东西两岸。在斯奈德创作的二十多本诗集中,笔者认为有三部堪称“地标”之作,《碎石和寒山诗》(1965),《龟岛》(1974)及《山水无尽》(1996)。经过细读诗作文本,梳理诗文思想,笔者认为这三部“地标”之作既代表了斯奈德诗歌历程的“基石”,“界标”和“丰碑”,也清晰勾勒出斯奈德佛学思想的发展轨迹。本文深入探讨了斯奈德佛学思想从基石之作《碎石和寒山诗》中的佛学启蒙,到界标之作《龟岛》中的佛学生态观,再到丰碑之作《山水无尽》中的佛学认识论的发展轨迹。同时,本文还指出斯奈德佛学思想的积极因素对现今东西方社会的生态危机,文化危机等社会问题的文化治愈功能,并指出斯奈德多元文化的诗歌历程对当今世界东西文化的互补互通有着深远的示范意义。第一章,“导论”,简要介绍了斯奈德的生平和作品,回顾了国内外斯奈德研究的概况,并阐明了本文的论点和结构。目前,在国内斯奈德研究资源匮乏,研究氛围尚未成熟,鲜有类似研究成果的情况下,本文试图对斯奈德诗歌历程中佛学思想的发展轨迹进行较为系统的研究,以期为更深入的拓展研究奠定良好基础,提供有益启迪。第二章,“基石:《碎石和寒山诗》的佛学启蒙”,详述了斯奈德亚洲佛教朝圣之旅的文化动因和时代背景,对比了斯奈德与寒山的诗学与佛学的互动影响,并指出斯奈德对寒山诗作的研习和翻译正是其亚洲朝圣之旅的精神源头。本章通过深入分析斯奈德基石之作《碎石和寒山诗》中的佛学思想,揭示出斯奈德诗歌历程中以“缘起论”和“圆融观”为基础的佛学启蒙。第三章,“界标:《龟岛》的佛学生态观”,阐述了斯奈德回归美国后,深刻地将“龟岛”生态危机归因于“人类中心论”的文化危机。本章分析了在其界标之作《龟岛》中,斯奈德有机整合了西方生态理论与东方佛学教义,从而形成其独特的以“佛性论”和“因陀罗网”为核心的佛学生态观。斯奈德从东渡亚洲的朝圣之旅和西归美国的生态属域中参悟的东西合璧的智慧不仅为《龟岛》结出了“普利策诗歌奖”的硕果,也使他扎根在“龟岛”上更诗意地栖居。因此,其界标之作《龟岛》的确标志着斯奈德诗歌历程中佛学思想发展的重大突破。第四章,“丰碑:《山水无尽》的佛学认识论”,通过呈现一幅中国古代山水画卷和一部美国当代山水诗歌之间跨时空的共生性和圆融感,透视出斯奈德“亦山亦水”,“亦诗亦画”的佛学不二法门观。本章深入分析了斯奈德历时四十载的丰碑之作《山水无尽》中的佛学思想,在阐发斯奈德不二法门观的基础上,探究了斯奈德以“无常有”和“自性空”为特点的佛学认识论。斯奈德消解了僵化的二元对立模式,超越了山与水,诗与画,风景与心景,东方与西方,这标志着斯奈德诗歌历程中佛学思想发展的丰碑。第五章,“结论”,概述了斯奈德在其基石之作《碎石和寒山诗》,界标之作《龟岛》及丰碑之作《山水无尽》中佛学思想从《碎石和寒山诗》的佛学启蒙,到《龟岛》的佛学生态观,再到《山水无尽》的佛学认识论的发展轨迹。最后,本文指出在全球多元文化共生的背景下,以斯奈德佛学思想为范例对东西文化互动的模式进行系统研究具有深远的学术价值和时代意义。更多还原

【Abstract】 Gary Snyder crisscrossed Asia and America, physically, spiritually as well as culturally throughout his career. In the development of his intercultural poetic journey, Snyder has composed more than 20 books of poetry and prose. The author of this dissertation thinks that among these 20-odd books, there are three landmark works, Riprap and Cold Mountain Poems (1965), Turtle Island (1974) and Mountains and Rivers Without End (1996). After interpreting the major poems in these three books, and combing their interactive developmental relationships, the author of this dissertation holds that these three crucial works can be regarded respectively as the cornerstone, milestone and capstone in Snyder’s intercultural poetic journey.This dissertation analyzes the development of Snyder’s Buddhist thoughts over three phases, from his initial Buddhist enlightenment in the first-phase cornerstone work, Riprap and Cold Mountain Poems, to his Buddhist ecological vision in the second-phase milestone work, Turtle Island, till his Buddhist epistemological vision in the third-phase capstone work, Mountains and Rivers Without End. From his interplay with Han Shan in the 1950s, through his Buddhist ecological outlook in the 1970s, to his Buddhist epistemological vision in the 1990s, Snyder framed his visions of the American West, Turtle Island, transpacific mountains and rivers respectively with Han Shan’s poems in Riprap and Cold Mountain Poems, Native American mythologies in Turtle Island and Chinese landscape paintings in Mountains and Rivers Without End, which all break down the East-West dichotomy.The first chapter,“Introduction,”presents an overview on Snyder’s life and works, reviews the literary criticism from both American and Chinese researchers relevant to Snyder’s poetry, and briefs the thesis as well as the chapter preview of the present dissertation.The second chapter,“Cornerstone: Buddhist Enlightenment in Riprap and Cold Mountain Poems,”through analyzing why and how Snyder mapped out and carried out his Buddhist pilgrimage to Asia, and through expounding Snyder’s interplay with Han Shan, identifies Snyder’s translation of Han Shan’s poems as the spiritual outset of his Asian pilgrimage, and accordingly sets Riprap and Cold Mountain Poems as the cornerstone of Snyder’s intercultural poetic journey. Along with a detailed interpretation of the Buddhist concepts of“dependent origination”and“interpenetration”in Snyder’s Riprap and Cold Mountain Poems, it is concluded that Snyder’s initial Buddhist enlightenment is critical to understand the full-span development of Snyder’s Buddhist thoughts in his intercultural poetic journey.The third chapter,“Milestone: Buddhist Ecology in Turtle Island,”by illustrating Snyder’s perception of the ecological crisis on Turtle Island as the cultural crisis in the West, traces how Snyder cross-fertilizes the Western ecological theories with the Buddhist concepts of“Buddha nature”and“Indra’s net of interrelatedness”to shape his Buddhist ecological vision for addressing the ecological issue on Turtle Island. The east-meet-west wisdom that Snyder gained from his Buddhist pilgrimage to Asia not only flowers in this Pulitzer winner, Turtle Island, but also fruits in his reinhabitation on Turtle Island. As such, Turtle Island, relays Snyder’s intercultural poetic journey as a solid milestone, and marks a significant breakthrough in the intercultural cross-fertilization which Snyder has been intensely pursuing throughout his lifelong career.The fourth chapter,“Capstone: Buddhist Epistemology in Mountains and Rivers Without End,”through unfolding Snyder’s dharma gate of non-duality in perceiving mountain and water, visual painting and verbal poem, pinpoints Snyder’s Buddhist epistemological vision in terms of“impermanence”and“emptiness”in Mountains and Rivers Without End. In view of the trans-temporal and trans-spacial symbiosis between an ancient Chinese landscape hand scroll painting and Mountains and Rivers Without End, Snyder renders the Chinese visual painting through verbalizing it with a wide-ranging series of journeys crisscrossing East Asia and West America. Therefore, Mountains and Rivers Without End can be undisputedly referred to as the capstone of Snyder’s intercultural poetic journey. In summarizing his Buddhist pilgrimage to Asia and his repatriation to America, Snyder creatively represents the“Mountains and Rivers”along his intercultural poetic journey in the Buddhist epistemological mode, surpassing the rigid dualistic restraints of poem or painting, landscape or mindscape, the East or the West. The fifth chapter,“Conclusion,”sums up the development of Snyder’s Buddhist thoughts from his initial Buddhist enlightenment in the cornerstone work, Riprap and Cold Mountain Poems, to his Buddhist ecological vision in the milestone work, Turtle Island, till his Buddhist epistemological vision in the capstone work, Mountains and Rivers Without End. It is concluded that Snyder’s Buddhist thoughts impenetrate all the way through his intercultural journey from the 1950s to the 1990s. In his intercultural poetic journey, Snyder intends to give full play to the Buddhist thoughts to alleviate the social pains incurred by the senseless growth of industrial civilization in America, or on this planet at large. From Japan Island to Turtle Island, from Asia to America, Snyder extends the Buddhist denotation to the ecological and cultural connotations as he expands his physical life scope as well as his spiritual homeland from the 1950s to the 1990s. Noticeably, the positive elements in Snyder’s Buddhist thoughts function as a therapy of cultural healing to modern societies, both in the East and in the West. Moreover, with his intense and uncompromising pursuit of an intercultural cross-fertilization of more than half a century, Snyder’s lifelong poetic journey exemplifies a paradigm of intercultural communication and complementation between the East and the West.更多还原