【作者】 关涛；

【导师】 陶东风；

【作者基本信息】 首都师范大学 ， 文艺学， 2009， 博士

【摘要】 莎乐美的形象演变历经了差不多两千年的人类历史,从公元一世纪《圣经》中的无名公主和《犹太古史》中的小亚美尼亚王后,到中世纪福音书手抄本和教堂浮雕、壁画中宣扬基督教和陪衬圣徒施洗约翰伟大事迹的边缘人物,再到文艺复兴时期肖像艺术的美丽女主角,又到十九世纪后期象征唯美-颓废的“致命美女”。莎乐美的形象演变从一个侧面见证了西方社会发展的历史,涉及宗教、政治、道德和艺术等多个领域,从而成为一个特殊的文化现象。在莎乐美形象的演变流程中,基督教的禁欲主义、文艺复兴时期的人文思想、十九世纪的东方主义、性别政治和审美现代性都一度发挥过重要的作用,不同历史阶段的文学家艺术家因为受到特定历史时期的文艺思潮的影响而把莎乐美打扮成不同的模样。值得思考的是,莎乐美受到历代众多文学家艺术家的青睐,通过莎乐美形象的历史演变,他们的艺术创作串起了一段“莎乐美情结”。十九世纪末、二十世纪初的西学东渐使现代启蒙初期的中国也参与到编织“莎乐美情结”的行列里来。由于中国当时特有的历史情境和文化背景,原本在世纪末的西方文艺界象征着审美现代性的莎乐美经历了特别的形象解读,成为服务于中国启蒙现代性的艺术形象,对《莎乐美》的翻译、演出和仿作风靡一时。“莎乐美”这一文化现象是中国现代文学史不能遗忘的重要组成部分。本文写作的主旨是对莎乐美的形象演变从历史发展的角度进行梳理,并就其展开文化层面的解读和阐释。第一章对莎乐美在《圣经》福音书中的艺术原型和《犹太古史》中的历史原型进行了考证和描述,并试图还原曾激起后世艺术家创作灵感的神秘的“莎乐美之舞”的历史真相。第二章梳理了莎乐美在中世纪一千多年来视觉艺术中的形象演变,探讨了莎乐美如何从攀附着伟大圣徒的小人物逐步演变成绘画艺术表现主体的文化原因。论文从第三章转入对十九世纪后期莎乐美进入西方文坛的形象描述。本章主要论述了海涅、福楼拜和马斯涅笔下的“浪漫主义”的莎乐美形象。故事情节虽然各不相同,但这一时期的莎乐美散发出浓郁的浪漫主义风采。第四章挖掘了“象征主义扮相”的莎乐美形象,所涉及的画家和作家——莫罗、于斯曼和拉佛格——都是法国象征派的领军人物。其中于斯曼对莫罗版《莎乐美》的视觉形象所进行的文学描写,使“莎乐美”成为文学界和绘画界引人注目的互文现象;拉佛格的戏仿之作《莎乐美》嘲讽了法国动荡不安的历史、政治和革命以及传统的妇女观,并且呈现出象征主义作品背后隐藏的特殊的批判性和自反性。第五章是本文的重中之重,论述了“唯美-颓废主义”的莎乐美形象。十九世纪和二十世纪之交的王尔德的悲剧、比亚兹莱的插画和施特劳斯的歌剧携手打造了莎乐美的巅峰形象,使唯美-颓废的莎乐美在当时的西方社会家喻户晓。唯美-颓废主义作为现代主义艺术的先驱,和象征主义一起揭开了审美现代性的序幕,虽然“短命”,却无可替代。艺术感性之美的“救赎”功用始终是艺术家和理论家探讨的主要命题,唯美-颓废的莎乐美之所以深入人心和久演不衰即说明了这一点。第六章探讨了唯美-颓废主义的莎乐美在二十世纪初期的中国所受到的两种截然相反的解读,一种是以田汉为代表的“去颓废”解读,另一种是以邵洵美为代表的“颓废”解读。尽管二者互为矛盾,却见证了中国现代文学家为中国的现代性所做的最大努力。结语部分从西方宗教、东方主义、女性主义和审美维度等几个方面重新总结了“莎乐美情结”的文化意义。莎乐美的艺术形象经过了千年的演变,至今仍然在世界各地不断上演,涉足各种艺术领域,尤其是在信息高度发达的网络时代和日常生活审美化的今天,莎乐美的形象演变依然没有停止脚步,这些问题有待我们今后做进一步的探索和讨论。更多还原

【Abstract】 Salome, in the Bible of the first century, was an unnamed princess of Judea; in Jewish Antiquities, she was the Queen of Lesser Armenia; in the Middle Ages, aimed at propagating Christianity, she was described as a marginal character to set off the martyrdom of John the Baptist in the illustration of the Bible and the sculptures or the murals in churches; in the Renaissance, she became the beautiful heroines of many famous portrait painters; in the fin-de-siecle, she was portrayed as a“femme fatale”in both literature and art. In 2,000 years, the evolution of Salome’s image witnessed the history of European social development, including many fields such as religion, politics, ethics, and arts, which became a special cultural phenomenon. In this evolution, the Asceticism of Christianity, the Humanism of Renaissance, the Orientalism, Sexual Politics and Aesthetic Modernity played important roles. Influenced by different literary and artistic thoughts and fascinated by the figure of Salome, many writers and artists in different ages portrayed Salome as different images, which formed a“Salome Complex”.In the joint of the 19th and 20th centuries, China was experiencing the modern enlightenment with the Western thoughts coming into China and it also joined into the Salome craze. As a result of the special historical situation and cultural context at that time, the image of Salome in the western culture of fin-de-siecle was interpreted as an image representing China’s enlightenment modernity, accompanied by the translations, performances and parodies of Salome. Thus, Salome, as a cultural phenomenon, entered the history of China’s modern literature and became a very important part of it.The purpose of this dissertation is to study the image evolution of Salome from the angle of historical development and interpret the cultural connotations behind her different images. Besides the Introduction and the Conclusion, the dissertation consists of six chapters.Chapter One is an archaeological study of the prototype of Salome in the Bible and Jewish Antiquities and tries to reveal the secret of Salome’s Dance which aroused the creative inspiration of many writers and artists in different ages.Chapter Two reviews the different images of Salome in visual arts during more than 1,000 years in the Middle Ages and discusses the cultural reasons of Salome’s evolution from a marginal character subordinated to the great Baptist to the subjects represented by many artists.From Chapter Three, the dissertation begins the study of Salome’s images in the Western literature in the late 19th century. It focuses on the Romantic Salome portrayed by Heine, Flaubert and Massenet.Chapter Four deals with the images of Salome represented by those Symbolist writers and painters, such as, Moreau, Huysmans and Laforgue. The literary description of Moreau’s paintings by Huysmans made Salome a cultural phenomenon attracting masters in both fields of literature and painting. Laforgue’s parody, Salome, mocks the turbulent history, politics, and revolutions of France and the traditional outlook on women, which reveals its distinctive critical and self-reflexive functions.Chapter Five is the emphasis of this dissertation, which studies the image of Salome of Aestheticism and Decadence in 1890s. Wilde’s tragedy, Beardsley’s illustrations and Strauss’s opera succeeded in creating the final image of Salome a household name. Being the pioneer of Modernism, together with Symbolism, Aestheticism and Decadence worked as the overture of Aesthetic Modernity. Although it only lasted a very short period of time, its role cannot be replaced. The function of“rescue”played by the sensual beauty of the arts has been the topic of both artists and theorists, which is proved by the craze and cult of Salome.Chapter Six explores the two extreme interpretations of the Aesthetic and Decadent Salome in China from 1920s to 1940s. One is the“un-decadent”interpretation represented by Tian Han, and the other is the“decadent”interpretation represented by Shao Xunmei. Although contradictory, both of them witnessed the efforts of the Modernist writers for creating China’s Modernity.The conclusion summarizes the cultural meanings of Salome Complex, which includes Religion, Orientalism, Feminism and Aestheticism.Through the evolution in 2,000 years, the image of Salome is still alive and kicking on the stages all over the world. Even at the age of internet and post-modernism, the evolution of Salome’s image is still going on, which needs further study and discussion.更多还原