中文摘要：威廉•卡洛斯•威廉斯(1883-1963)是继惠特曼之后美国本土诗人的又 一典范。《美国性情》( In the American Grain , 1925)是威廉斯的主要评 论集。在该书的序中，威廉斯如是论及写作此书的初衷，即(一)“借重 读历史认清美国性情的本质”;(二)“以新的方式重新命名旧有的事物”。 事实上，这也是威廉斯本人穷其一生所信奉和坚守的信条:为美国而歌， 并努力推陈出新，“以新的方式”表现和丰富美国的诗歌。 本论文共分三部分。第一部分简要介绍威廉斯。第二部分论述威廉斯在创作初期(即对“美国性情”的寻求阶段)如何尝试借鉴法国现代派绘画艺术的创作手法并通过与斯蒂格雷兹群体的密切交往，进一步坚定“非得按我自己的方式去写”美国本土诗歌的主张;第三部分则追根溯源，旨在阐述在诗歌主题及诗歌形式两方面，威廉斯如何承继和发扬惠特曼的传统，最终得以实现从初期的“寻求”过渡到在诗歌作品中切实地体现和验证着“美国性情”。
Abstract William Carlos Williams (1883一1963) is another good example of thenative American poets after Whitman. In the American Grain〕925 is hisprimary critical achievement. In the preface, Williams shows the two originalintentions of writing this book. One is to "reread American history in an attemptto identify what really makes up the American grain", the other is to "re-namethe things seen". In fact, this is the exact tenet Williams believes in and sticks toever since his beginning of writing poetry: singing for America, weedingthrough the old to bring forth the new, and producing and enriching Americanpoetry with new methods and theories. The thesis consists of three parts. In the first part, Williams and his worksare briefly introduced. The second part examines his attempt to apply thecreative techniques of the arts of French modernist school to his poetry-writingduring the initial writing period (i.e. the stage of his quest for "American grain")Furthermore, through the close association with the well-known Stieglitz Group,Williams further strengthens his determination to write American poems in away of his own. The third part of www.51lunwen.orgthe thesis explores, from the two sides of thepoetic theme and form, how Williams inherits and develops Whitman, thegreatest American poet. By doing so} he also makes the embodiment andenactment of "American Grain”become a reality in his poems.
目录
一
中文摘要
英文摘要
引言................................1
第1章对诗人威廉斯的简要介绍......................... 3
第2章威廉斯在视觉艺术中寻求着对“美国性情”的表达”......... 5
2.1威廉斯与法国现代派绘画艺术.......................5
2.1.1法国现代派绘画艺术............................6
2.1.2法国现代派绘画艺术对威廉斯的影响..................7
2.1.3威廉斯对法国现代派尤其是立方主义创作手法的借鉴....9
2.2威廉斯与斯蒂格雷兹艺术群体的交往.............................16
2.2.1威廉斯诗歌创作的立足点........................17
2.2.2威廉斯诗歌理论的形成..................21
2.3本章小结............................25
第3章威廉斯在惠特曼的影响下体验着“美国性情”........ 27
3.1诗歌主题的选用...................28
3.1.1民族文化思想.................28
3.1.2民主和自我....................31
3.1.3自然......................一38
3.2诗歌形式的创新.................... 41
3.2.1自由诗体................42
3.2.2诗歌语言...................49
3.3本章小结.....................52
结论.............................. 54
参考文献..................55
注释....................57
致谢..................................61
独创性声明............................62
