摘 要本文以埃兹拉·庞德的现代主义诗学为研究对象，考察了庞德在意象主义运动、漩涡主义运动中所做的贡献，分析了费诺罗萨论文的相关内容，以此为背景，讨论了庞德意象主义、漩涡主义、表意文字法的内容、特点及与中国诗学的关系。意象主义的基石是意象三原则。庞德主张直接呈现意象，不用修饰，不做解释，不做评论。庞德将这种“清晰呈现”称为诗歌中的“散文传统”。在福特坚持清晰、精确的散文传统的影响下，庞德提出诗应该写得像散文一样好，不用倒装，不用套话，不用书面语，简洁、硬朗、精确、客观。庞德认为维多利亚抑扬格五音步的固定节奏不能表达不同的以及变化的情感，主张使用与所表达的情感相对应的节奏即“绝对节奏”，使用自由诗写作。漩涡主义强调不同艺术家之间的连接与互动，但同时又强调不同艺术之间清晰的界限。每一门类的艺术都有其独特的媒介，庞德称之为基本色素。在哈德逊·马克西姆“诗歌遵循节能规律”的影响下，庞德在诗论中表现出对能量的持续关注。庞德将漩涡定义为能量的最大值。漩涡的中心最静止，能量最大。庞德还用“漩涡”来表示伦敦这样的文学文化中心以及先锋艺术家的绘画风格。表意文字法是一种科学的方法，是在对几个具体事物、具体标本的并置比较中得出结论的方法，是从具体到抽象，从个别到一般的方法。庞德在《文化指南》中这样定义表意文字法：“表意文字法在于一面一面地呈现，直到在某一点离开读者迟钝的大脑表面，进入将被记录的部分。”表意文字法运用到文学教学中是“考察与并置个别标本，即个别著作或文学段落”的方法。表意文字法运用到《诗章》中是一种并置的方法。表意文字法是《诗章》的主要结构模式。 本论文有3个创新点：1）本论文否定了学界普遍认为庞德的意象主义是在中国古诗的启发下形成的观点，认为庞德在中国古诗及诗学中产生了共鸣，为自己的意象主义找到了理论支撑；2）本论文否定了学界一些人认为庞德的漩涡主义是在费诺罗萨关于汉字的论文或汉字的启发下形成的观点，认为庞德在汉字与汉字诗学中产生了共鸣，为自己的漩涡主义找到了理论支撑；3）本论文否定了庞德表意文字法完全来源于费诺罗萨论文的观点，认为表意文字法是在费诺罗萨论文的基础上形成的，同时也是庞德自身的诗歌诗学发展的结果。
AbstractThe present dissertation is a study of Ezra Pound’s modernist poetics. It examines Pound’s contribution in Imagist movement and Vorticist movement, analyses relevant parts of Fenollosa’s “The Chinese Written Character as a Medium for Poetry” which serve as the background for the study of Pound’s modernist poetics. The dissertation then discusses Pound’s Imagism, Vorticism and Ideogrammic Method, as well as their relations to Chinese poetics.Imagism’s cornerstone is the Imagist three principles. Pound advocates direct presentation of images without any ornament, explanation, and comment. This sort of clear presentation is what may be called the “prose tradition” of poetry. Under the influence of Ford’s insistence upon clarity and precision, upon the prose tradition, Pound says “Poetry must be as well written as prose.” “There must be no eliches, set phrases, stereotyped journalese.” It aims at concision, hardness, precision and objectivity. Pound believes in an “absolute rhythm,” a rhythm, that is, in poetry which corresponds exactly to the emotion or shade of emotion to be expressed. He advocates the use of vers libre.Vorticism connects artists in different fields and also keeps the distinct border. The unique medium of an art is called by Pound as “primary pigment.” Influenced by Hudson Maxim’s belief that “poetry obeys energy conservation, ” Pound has consistent obsession with energy in poetry. The vortex is the point of maximum energy. At the heart of the whirlpool is a great silent place where all the energy is concentrated, and there at the point of concentration is the Vorticist. Vortex is also referred to London, the literary and cultural centre and to the style of avant-garde artists.The Ideogrammic method is a method of science. It is the method of contemporary biologists, that is, careful examination of the matter and continual comparison of one “slide” or specimen with another. It induces from the concrete to the abstract, and from the particular to the general. In Guide to Kulchur, the ideogrammic method consists of presenting one facet and then another until at some point one gets off the dead and desensitized surface of the reader’s mind, onto a part that will register. Applied to literary teaching, the ideogrammic method is the examination and juxtaposition of particular specimens—e.g. particular works, passages of literature as an implement for acquisition and transmission of knowledge. In The Cantos, the ideogrammic method is a method of juxtaposition, which is its main organizing method. The present dissertation is innovative in the following three ways. Firstly, it negates the general belief that Pound’s Imagism originates from Chinese poetry and poetics and argues that Pound’s Imagism echos Chinese poetry and poetics. Secondly, it negates the general belief that Pound’s Vorticism originates from Fenollosa’s essay or Chinese written characters, and argues that Pound’s Vorticism echoes the Chinese poetics of the written characters expressed in Fenollosa’s essay. Thirdly, it negates that Pound’s Ideogrammic Method fully comes from Fenllosa’s essay, and it argues that the method is based on Fenollosa’s essay and also stems from the development of Pound’s poetry and poetics.
