空间批评视域下的《焚毁的诺顿》解读
The Interpretation of Burnt Norton from the Perspective of Spatial Criticism
摘要: T. S.艾略特是一位影响深远的现代主义诗人和文学评论家。他的诗歌作品《四个四重奏》被认为是他晚年创作的巅峰之作，它是一种思想的流动，流露出上帝的乐章。在艾略特所有的诗歌中，《四个四重奏》被认为是最富哲理性的诗歌之一。这部诗集由四首长诗组成，每首长诗都以独特的视角探讨着关于时间、空间、信仰和人类存在的主题。《焚毁的诺顿》是《四个四重奏》的第一部分。它隐喻地揭示了艾略特在诺顿期间内心痛苦的爱和挣扎。本文拟从苏贾的“第一空间”，“第二空间”和“第三空间”对《燃烧的诺顿》进行解读，以探讨其中蕴含的深邃思想，以及对时间和存在的深刻思考。
Abstract: T. S. Eliot is a profoundly influential modernist poet and literary critic. His work “Four Quartets” is considered the pinnacle of his late career, representing a flow of ideas that reveals the music of God. Among all of Eliot’s poetry, “Four Quartets” is regarded as one of the most philosophical. This collection consists of four long poems, each exploring themes of time, space, faith, and human existence from a unique perspective. “Burnt Norton” is the first part of “Four Quartets”, metaphorically revealing Eliot’s inner turmoil and struggles during his time at Norton. This paper aims to interpret “Burnt Norton” through Soja’s concepts of the “first space”, “second space”, and “third space”, exploring the profound thoughts and Eliot’s deep reflections on time and existence.
文章引用：邓嘉贞, 胡戈. 空间批评视域下的《焚毁的诺顿》解读[J]. 世界文学研究, 2025, 13(6): 817-829. https://doi.org/10.12677/wls.2025.136116

参考文献

[1] Brooker, J.S. (2018) T. S. Eliot’s Dialectical Imagination. Johns Hopkins University Press.
[2] 陈亮辉. 论艾略特《四个四重奏》的意象和时间主题[J]. 现代语文(学术综合版), 2014(5): 57-59.
[3] 虞又铭. T. S.艾略特的诗学世界[M]. 上海: 上海社会科学院出版社, 2020: 305.
[4] 刘立辉.《四个四重奏》的时间拯救主题[J]. 外国文学评论, 2002(3): 29-36.
[5] Kearns, C.M. (2008) T. S. Eliot and Indic Traditions. Cambridge University Press.
[6] Sri, P.S. (2011) The Dantean Rose and the Hindu-Buddhist Lotus in the Poetry of T. S. Eliot. In: Douglass, P., Ed., T. S. Eliot, Dante, and the Idea of Europe, Cambridge Scholars Publishing, 39-52. [Google Scholar] [CrossRef] 
[7] 杨渝. 回到原初世界——T.S.艾略特《四个四重奏》宗教人物意象解读[J]. 郑州大学学报(哲学社会科学版), 2008, 41(6): 137-141.
[8] 乔艳丽. T. S.艾略特与东方宗教思想——透视《荒原》与《四个四重奏》中的印度教与佛教思想[J]. 汕头大学学报(人文社会科学版), 2011, 27(4): 60-63, 95.
[9] 虞又铭. 超越中的契合: T. S.艾略特《四个四重奏》与禅宗精神[J]. 马克思主义美学研究, 2013, 16(2): 227-236, 322.
[10] Moody, A.D. (2008) Tracing T. S. Eliot’s Spirit. Cambridge University Press.
[11] Kennedy, S. (2022) T. S. Eliot and the Dynamic Imagination. Cambridge University Press.
[12] Levenson, M.H. (1986) A Genealogy of Modernism. Cambridge University Press.
[13] 邓丽君.《四个四重奏》中自然意象的多维解读[D]: [硕士学位论文]. 西安: 西安电子科技大学, 2012.
[14] 江玉娇.《四个四重奏》:“玫瑰园”多层意象[J]. 西南民族大学学报(人文社科版), 2005(12): 135-138.
[15] 吴毅. 走向有序世界——艾略特《四个四重奏》的宇宙图景构建[D]: [硕士学位论文]. 重庆: 西南大学, 2011.
[16] Lefebvre, H. (1991) The Production of Space. Trans. Donald Nicholson-Smith. Blackwell.
[17] Foucault, M. (1986) Of Other Spaces. Diacritics, 16, 22-27. [Google Scholar] [CrossRef] 
[18] Soja, E.W. (1996) Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places. Blackwell.
[19] 陈思. 艾略特《四个四重奏》玫瑰意象探析[J]. 语文建设, 2015(15): 71-72.
[20] Augé, M. (2023) Non-Places: Introduction to an Anthropology of Supermodernity. Trans. John Howe, Verso.
[21] Harvey, D. (1991) The Condition of Postmodernity. Blackwell,
[22] Bachelard, G. (1994) The Poetics of Space. Trans. Maria Jolas, Beacon Press.
[23] 圣经[M]. 上海: 中国基督教三自爱国运动委员会, 中国基督教协, 2009.
[24] 海德格尔. 荷尔德林诗的阐释[M]. 北京: 商务印书馆, 2000.
[25] T·S·艾略特. 情歌·荒原·四重奏[M]. 上海: 上海译文出版社, 1994.

为你推荐