【作者】 刘红莉；

【导师】 李咏吟；

【作者基本信息】 浙江大学 ， 文艺学， 2013， 博士

【副题名】里尔克诗歌的诗学与哲学研究

【摘要】 勒内·玛丽亚·里尔克是二十世纪初世界文学史上的重要人物。他的诗歌不仅达到了艺术性与思想性的高度融合,而且直面现代诗歌衰落的现实,以诗的方式探索了诗的本质与诗人的使命,并给出了自己独特的回答。本文采用原型批评的方式,从里尔克的诗作中提取了两个重要的人物形象即那喀索斯和俄耳甫斯作为他的诗性自我的原型。本文挖掘了这两个神话人物的形象内涵,并且将它们与里尔克的诗艺和自我的发展相结合,深入探究里尔克的诗艺思想与自我认知从中期《新诗集》向晚期《杜伊诺哀歌》和《致俄耳甫斯的十四行诗》转变的内在肌理。那喀索斯与俄耳甫斯不仅代表着里尔克不同时期的自我形象,而且还代表着他不同时期对于诗歌的本质和诗人的使命的理解。本文认为,里尔克的诗歌创作与自我认同都经历了从那喀索斯走向俄耳甫斯的深刻转变。在诗艺方面,这种转变意味着里尔克从中期的“观看诗学”转向晚期的“寂默诗学”或称“死亡诗学”；在自我生存的理解方面,则表现为里尔克从“写作求生”到“写作求死”的转变,最终追求一种纯粹的爱和真实的死,在诗性地言说-赞美中获得自我生存的确定性。全文共分四章,分别研究里尔克从中期到晚期的主要诗作：《新诗集》(第一章)、《马尔特手记》(第二章)、“未编诗及断片”(第三章),以及《杜伊诺哀歌》和《致俄耳甫斯的十四行诗》(第四章)。第一章追溯了里尔克的观看意识的形成过程,理清诗人从罗丹与塞尚等人的视觉艺术中接受的影响,揭示他所谓的“观看”的内涵,进而着力于考察《新诗集》的诗作。通过揭示诗人的“立体化视觉”运作方式,细究里尔克的“言说的凝视”这一诗艺理想。第二章集中考察里尔克自传性的诗化小说《马尔特手记》。通过分析里尔克的“他者性自我”——小说主人公马尔特所遭遇的“双重危机”,这一章揭示出作为“观看主体”的诗人自我面临的那喀索斯式自我消融的困境,并由此追寻里尔克处于“转折”前夕的诗艺与灵魂处境。第三章研究里尔克转折时期的诗作。通过解读诗人的“第一哀歌”以及“致黑夜”组诗,细致地描述里尔克从那喀索斯走向俄耳甫斯的心路历程与诗艺转变。第四章剖析里尔克的死亡观念的内在转变。这一章揭示了里尔克的“俄耳甫斯式死亡”内涵,进而指出,通过死亡,诗人完成了他痛苦的“变形”,在“另一种歌唱”中找到了对诗歌本质的理解与自我真实生存的确认,在诗歌失落的时代承担起诗人的使命。最后的结论部分认为,里尔克最终将俄耳甫斯当作诗性自我与诗歌的原型,不仅是肯定言说-赞美对于人诗意栖居之重要意义,更是以自己的诗歌行动成为我们的引领者,号召我们跟随,深入到存在的渊源中去,发现我们生存的共同根基。更多还原

【Abstract】 As an important chaper in the history of world literature of the20th century, Rainer Maria Rilke’s poetry is a unity of art and thought. Confronting the decline of mordern poetry, Rilke explored, in and through his poems, the essence of poetry and the vocation of poet to which he gave his distinct answer.In this dissertation, adopting the archetypal criticism, the author takes two figures from Rilke’s poems, namely Narcissus and Orpheus, and treats them as the archetype of Rilk’s poetic self-identity. The author investegates the implications of those figures and connects them to the develpments of Rilke’s poetics and self-identification, so as to expose the process of Rilke’s changing in his poetics and self-identification from Neue Gedichte to Duino Elegies and Sonnets to Orpheus. The author argues that the figures of Narcissus and Orpheus presents not only Rilke’s self-images but also his understandings of the essence of poetry and the vocation of poet during his different periods. More precisely speaking, both the poetics and the self-identification of Rilke undergoes a shining from Narcissus to Orpheusrin regard to his poetics, the shining from the "poetics of seeing"in his middle period to the "poetics of quiet"or"poetics of death"; in regard to his understanding of existence,the shining from"writing for the life-seeking"to"writing for the death-seeking".Ultimately,Rilke looks for a kind of pure love and authentic death, and achieves to the certainty of existence in the poetic speaking-celebrating.Four chapters of this dissertation are devoted to studying the main works of Rilke’s middle and later periods:Neue Gedichte (in chapter one), Malte Laurids Brigge (in chapter two),Poems unedited and Fragements (in chapter three),Duino Elegies and Sonnets to Orpheus (in chapter four)In chapter one, the author traces back to the formation of Rilke’s consciousness of seeing, finding out the influence of visual artists such as Rodin and Cezanne on Rilke. Furthermoer, the author clears up the implications of what is called by Rilke as"seeing",in order to interprete the poems in Neue Gedichte.Finally, by way of exposing the operation of "stereoscopic vison"in Rilke, the author discusses the poetic ideal of speaking regard"involved in Rilke’s works.Chapter two focuses on Malte Laurids Brigge, an autobiographic fiction by Rilike. The author argues that as Rilke’s "another self", Malte suffers from a"double crisis"which means the aporia of resolving Narcissusian self as a seeing subject on the eve of the shifting.Chapter three is concerned with the works in Rilke’s shifting.The author closely reads the first Elegies and Gedichte an die Nacht, and describes the way that Rilke goes from Narcissus to Orpheus.Chapter four analyzes the change in Rilke’s conception of death.The author argues that it is through the death that Rilke accomplishes his transformation and acquires the affirmation of both the essence of poetry and the real existence of the self so as for him to bear the vocation of poet in a time when the poetry declines.Finally, the conclusion thinks that Rilke takes Orpheus as an antetype for his poetic self and poetry at last. The author argues that Rilke’s affirmation of the figure of Orpheus means recognizing the importance of the poetic speaking-celebrating for the peotic inhabitation of human beings, and as a guider with his poetic activity, calling us to deep into the source of Being as to discover the ground of our human beings.更多还原