象征主义论文摘要万能模板

坚毅顽强的个体，与命运的抗争，融入自然，同时又以强大的精神去驾驭自然，却不能摆脱人做作为一个渺小个体的宿命，同时也是人类的宿命。有战斗，有胜利，有悲愤，最终一切都将归于平淡。

In 19th century symbolism is produced in literature and art movement of intelligentsia in Paris, and the influence of the 20th century, the development of aesthetics, and played a certain role. This movement mainly in France and Europe's other cultural center also have some adherents, such as Germany, Belgium, etc. Symbolism symbolism, and divided into before after symbolism. Before the symbolism of the nineteenth century, produced in France's poetry genres. Representative character is: WeiErLun baudelaire, Malawi, bo and beauty. Baudelaire sonnets Correspondences of the first proposed guys with the famous "symbol" Theory. Late 19th and early 20th century symbolism extend from France, Britain, the United States, Germany, Italy, Russia and other countries and regions, develop international literary trend, and in the 1920s, known as the climax period symbolism. In France, Austria viding in Ireland, Kerr Yeats and American poet is reserved for main representative. They inherited the symbolism of the development of the traditional symbolism, make more perfect, more and more rich connotation of modernist trend. The symbolism and can be divided into three stages: baudelaire before starting period symbolism. In this period, France's first prose poet's bell, Nanotubes igbokwe, poet essayist was a famous American poet and LeiYaMeng and introducing Allan POE. They and poetry theory has to baudelaire and later a large provided the poet's happened, but also become truly "poetry. The second phase is baudelaire period. Baudelaire not but the ancestor of symbolism, Is the pioneer of the modernist literature, we took him this one phase called pioneer period symbolism. The third stage is the baudelaire after the three important a poet: WeiErLun, Latin America, bo. We call this period for the symbolism of the orthodox. Because of their personal efforts, 3 to 19 century symbolism of unprecedented upsurge appeared. France, from the seraphim, essien and above all poets such as elias morey has joined symbolism. With the creation of symbolism gimmick, formed a kind of poem to drown the disintegration of the romantic has gained in popularity with the pearl, send in the pattern. After the 1890s, poetry and began to spread to western European and north American countries, where to find many companion. "Those who became the 1920s in the symbolism of the backbone. But, in France, after the summit, the symbolism immediately began to decline. In 1891, provided the author "literature" morey azriel, and provided from the first announced a so-called "advocated" Roman literature, trying to regain his ancestors of the Greek and Roman tradition of ancient literature. Then, bo, WeiErLun respectively, Latin America, 1896, 1891, 1898, many other provided poet died in selecting new development direction, no longer follow symbolism artistic standard. The symbolism as 70 literary schools, to the 19th century has actually disintegration. But the symbolism, as a kind of literary and artistic ideas, its influence has been deeply rooted in France. But because of the famous poet and Latin America, symbolism in 19th century French GuoJieXian across to Western Europe, North America, to expand in the 1920s, and rise after the symbolism. Late 19th and early 20th century symbolism extend from France, Britain, the United States, Germany, Italy, Russia and other countries and regions, develop international literary trend, and in the 1920s, become the climax period symbolism. In France, Austria viding in Ireland, Kerr Yeats and American poet is reserved for main representative. They inherited the symbolism of the development of the traditional symbolism, make more perfect, more and more rich connotation of modernist trend. Its main characteristic is: create sick "beauty", the highest "real" inside, use symbol in the illusion, built in musical images, increase meditation effect.

19th century symbolism is produced in literature and art movement of intelligentsia in Paris, and the influence of the 20th century, the development of aesthetics, and played a certain role. This movement mainly in France and Europe's other cultural center also have some adherents, such as Germany, Belgium, etc. Symbolism symbolism, and divided into before after symbolism. Before the symbolism of the nineteenth century, produced in France's poetry genres. Representative character is: WeiErLun baudelaire, Malawi, bo and beauty. Baudelaire sonnets Correspondences of the first proposed guys with the famous "symbol" Theory. Late 19th and early 20th century symbolism extend from France, Britain, the United States, Germany, Italy, Russia and other countries and regions, develop international literary trend, and in the 1920s, known as the climax period symbolism. In France, Austria viding in Ireland, Kerr Yeats and American poet is reserved for main representative. They inherited the symbolism of the development of the traditional symbolism, make more perfect, more and more rich connotation of modernist trend. The symbolism and can be divided into three stages: baudelaire before starting period symbolism. In this period, France's first prose poet's bell, Nanotubes igbokwe, poet essayist was a famous American poet and LeiYaMeng and introducing Allan POE. They and poetry theory has to baudelaire and later a large provided the poet's happened, but also become truly "poetry. The second phase is baudelaire period. Baudelaire not but the ancestor of symbolism, Is the pioneer of the modernist literature, we took him this one phase called pioneer period symbolism. The third stage is the baudelaire after the three important a poet: WeiErLun, Latin America, bo. We call this period for the symbolism of the orthodox. Because of their personal efforts, 3 to 19 century symbolism of unprecedented upsurge appeared. France, from the seraphim, essien and above all poets such as elias morey has joined symbolism. With the creation of symbolism gimmick, formed a kind of poem to drown the disintegration of the romantic has gained in popularity with the pearl, send in the pattern. After the 1890s, poetry and began to spread to western European and north American countries, where to find many companion. "Those who became the 1920s in the symbolism of the backbone. But, in France, after the summit, the symbolism immediately began to decline. In 1891, provided the author "literature" morey azriel, and provided from the first announced a so-called "advocated" Roman literature, trying to regain his ancestors of the Greek and Roman tradition of ancient literature. Then, bo, WeiErLun respectively, Latin America, 1896, 1891, 1898, many other provided poet died in selecting new development direction, no longer follow symbolism artistic standard. The symbolism as 70 literary schools, to the 19th century has actually disintegration. But the symbolism, as a kind of literary and artistic ideas, its influence has been deeply rooted in France. But because of the famous poet and Latin America, symbolism in 19th century French GuoJieXian across to Western Europe, North America, to expand in the 1920s, and rise after the symbolism. Late 19th and early 20th century symbolism extend from France, Britain, the United States, Germany, Italy, Russia and other countries and regions, develop international literary trend, and in the 1920s, become the climax period symbolism. In France, Austria viding in Ireland, Kerr Yeats and American poet is reserved for main representative. They inherited the symbolism of the development of the traditional symbolism, make more perfect, more and more rich connotation of modernist trend. Its main characteristic is: create sick "beauty", the highest "real" inside, use symbol in the illusion, built in musical images, increase meditation effect.全部都是简单句~

象征：余秋雨散文创作的艺术手法之探析前言说明: 本文是我首篇比较正规的学术论文。足足花了我三个月时间。我本人是余秋雨的忠实读者。不仅因为他是余姚人，更因为他是一位自文笔、思想、见识乃至人格都让我非常钦佩的作家。所以我觉得，我有责任与义务去深入地研究他。 2006年八月，慈溪市出版了一本书，叫作《慈溪余秋雨研究》，作为一个余姚人，我觉得很惭愧。因为按现在的县域划分，余秋雨的故乡已经在慈溪了，现在，连余秋雨研究都被慈溪捷足先登了。难道余姚能够给予余秋雨的只剩下那些可怜的历史残片了吗？我这么问着自己，又翻着《慈溪余秋雨研究》，一种紧迫感与使命感油然而生，两者交汇，终于触使我用心写作此文。 决心下了，但是当我正式动手写作此文时，还是感到困难重重。毕竟我以前没怎么写过正规的论文，对余秋雨的喜爱也主要在感性的与理性的欣赏方面，让我上升到学理层次，说出个所以然来，还真是难倒我了。但是，我必须这么做。因为慈溪的余秋雨研究已经抢先一步了，我要做的是后发制人，发挥后发优势，博采众长，站在一个更高的起点发起冲锋，尽一个余姚人的一份微薄之力。怎么办？好在这时，机缘巧合，我获得了浙江大学黄健教授的帮助，在黄教授一次又一次细心的指导下，历经三个月，六易其稿，《象征：余秋雨散文创作的艺术手法之探析》终于写成。其中正文一万二千字，连同开题报告、文献综述等，总数在一万五千字以上。现将此文作若干次发布。 也借此向所有人宣告，在余秋雨的故乡——余姚，已经有了还算比较专业比较深入的余秋雨研究！（也许由于本人视野所限，余姚早已有了非常专业的余秋雨研究。果真如此，那么，我将很乐意向他表示最诚挚的祝贺。） 象征：余秋雨散文创作的艺术手法之探析（应建君）【内容摘要】在余秋雨散文中，象征手法得到了非常广泛的应用。本文重点研究了秋雨散文中象征手法的丰富性，象征手法的艺术运用，以及其象征意蕴与审美风格。其中象征手法的丰富性从人物象征、事件象征、寓言象征、山水象征、物件象征五个方面作了展开。前言中，对余秋雨在象征手法的系统认识方面作了必要的阐述。【关键词】余秋雨散文；象征手法；丰富性引 言： 余秋雨对象征手法从定义、在艺术创造中的地位、特征、美学意义等都有过详细而系统的论述。他认为，象征就是有限形式对无限内容的直观显示。通俗地讲就是以“一个可触可摸的直觉形式构建出一个宏大而深刻的意蕴。” 而这是几乎就触及到了艺术的根本。他说：“艺术，就其本质而言便是一种象征。” 并引用了法国前期象征主义的代表波德莱饵、后期象主义的代表人物瓦莱里、叶芝的话，“在艺术家眼里，世间万物都在互为表象，组成了一个象征的森林。” “象征主义既追求实世界高于现实的精神世界，又要把精神世界凝聚在个体生命力上，是一种极大和极小之间的呼应。” “在艺术中，一切文本都包含着连续的难以言语的象征主义。他主张的象征主义，必须挣脱就事论事和外在意志的干扰，找到一种充满生命力，又经得起不断开掘的形式。” 关于象征的特征，余秋雨引用科勒律治的表述：“象征的特征是‘在个性中半透明式地反映着特殊种类的特性，或者在特殊种类的特性中反映着一般种类的特性。。。。。。最后，通过短暂，并在短暂中半透明地反映着永恒。’”。简单地说象征的特征就是半透明双层性。所谓双层就是象征所包含的本体与象征体两层。半透明指本体与象征体之间的关系。即本体应该清晰但又不遮掩象征体，若隐若现。象征的真妙处在于既让外层清晰可视，又不能成为阻隔人们视线的屏障，人们可以透过外层看到藏在它背后的宏大、广阔而又深远的意义。 对于象征的美学意义，余秋雨也有过相当精彩的见解。比如对符号象征产生的审美心理，他作了如下概括：“首先，符号的抽象性使寄寓的物象提升到抽象的高度，使欣赏者面对具体物象而获得一种广阔感和自由感。其次，符号的通用性带来审美上的同步性，因而使创造者和欣赏者一起产生一种略带隐蔽的社会认同感。再次，符号的跳跃性使欣赏者享受了一种以少胜多、由此及彼的想象、思考、联结的自由，发挥了他们的审美主动性。”一、余秋雨散文中象征手法的丰富性 正是基于余秋雨本人对象征手法深入的认识以及相当的重视，所以在他的散文中，象征手法有相当普遍的运用，形式丰富多样，人物象征、事件象征、寓言象征、山水象征、物件象征无所不有。 1、人物象征 以一个具体的人物形象来构建出一个种族群体的宏大意蕴，即为人物象征。余秋雨散文中的不少人物具有这种明显的象征性。比如《道士塔》中的那个王道士。在余秋雨的笔下，王道士的形象是大众化的——无论是形貌还是精神，余秋雨写道：“我见过他的照片，穿着土布棉衣，目光呆滞，畏畏缩缩，是那个时代到处可以遇见的一个中国平民。” 他的做法呢？由于没有接受过多少教育，所以对美丧失最基本的鉴赏能力，无法对中国古代的文化瑰宝的价值作出最基本的判断。所以他会对精美的雕像、壁画熟视无睹，为了让洞窟里亮堂一些他可以毫不犹豫的拿石灰在这些唐代的笑容、宋代的衣冠上一层又一层地涂刷。他会拿个铁锤，敲碎那不知何朝何代的塑像，仅仅只是由于“她们的体态婀娜得过于招摇，她们的浅笑柔美得有点尴尬。” 与他的道士身份有点不符。同样因为无知，他会与外国冒险家做交易，“就像用两枚针换一只鸡，一颗纽扣换一篮鸡蛋。” 所以匈牙利人斯坦因能用一叠银圆换取二十四大箱子经卷、五箱织卷和绘画；法国人伯希和能用少量银圆换去十大车、六千多卷写本和画卷。以至“今天，敦煌研究院的专家们只得一次次屈辱地从外国博物馆买取敦煌的微缩胶卷，叹息一声，走到放大机前。” 读到这些，任谁都会气愤填膺，怒不可遏。但是，仔细地看完这篇《道士塔》，再合上书本，冷静地想一想，我们都会为我们的情绪化的冲动感到惭愧。正如余秋雨在文中所说的那样：“完全可以把愤怒的洪水向他倾泻。但是，他太卑微，太渺小，太愚昧，最大的倾泄也只是对牛弹琴，换得一个漠然的表情。让他这具无知的躯体全然肩起这笔文化重债，连我们也会觉得无聊。这是一个巨大的民族悲剧。王道士只是这出悲剧中错步上前的小丑。” 是的，王道士是错步上前的小丑，与小丑相对应的大丑却是我们的民族。王道士是当时中国最大数量的底层民众群体的典型代表。他的错误不仅属于他自己，更属于我们整个民族 我们不妨作这么一个大胆的假设，假如这个人不是王道士，而是张道士、李道士。结果又会是怎么样呢？这个结果又能够改变吗？当时的底层民众大多生活贫苦，一天到晚为生活奔波。他们知识不多，又身处于社会底层，所以也不曾受到过多少的尊敬。现在发现这些古物了，自己不知道它的价值，自感事情重大，已经报告县里的长官了，但是县官除了让自己下次再送一点外就不闻、不问、不管、不理。这等于是认可了自己自由处分这些古物的权力。这时候，外国探险家来了，趋之若骛，又诱之以利，恭之以礼。那么有什么理由不卖呢？我想，几乎把任何一个当时的中国底层民众放到王道士的位置都可以演绎出一个类似的故事。所不同的是无非是把愤怒的对象，由王道士变成了张三与李四。 更直截的人物象征在我看来是《垂钓》里的两位垂钓者。（见《霜冷长河》19页）一胖，一瘦。胖者钓绳上挂六个小小的钓钩，每个钓钩上都是一条小鱼，鱼不断地咬钩，他不断地忙碌，也不断地收获；瘦者的钓绳上仅仅挂着一个钓钩，但是硕大无比，他一心只钓大鱼。很长时间了，鱼还是没有上钩，他一无所获，但他还是执着地紧握着他的钓竿。两者一个象征着生活中重视物质的人，另一个象征着重视精神的人。合起来就是一个完整的人类。当然这个象征还可以挖掘下去。胖者演绎着一部人生喜剧，瘦子演绎着一部人生悲剧，合起来演绎着一个完整的人生；同时，两者互为两极，互相证明各自的价值，对立共存，从这个角度来讲，两人又象征着人世间的种种对立统一。就这样，无数复杂而高深的意蕴具象为两个对比鲜明的人物形象，给人以无限的遐想，让人不禁徜徉于诱人的理趣世界。