碰碰香繁殖:几个美国文学方面的词的定义及其关系

1、Futurism was an international art movement founded in Italy in 1909. It was (and is) a refreshing contrast to the weepy sentimentalism of Romanticism. The Futurists loved speed, noise, machines, pollution, and cities; they embraced the exciting new world that was then upon them rather than hypocritically enjoying the modern world’s comforts while loudly denouncing the forces that made them possible. Fearing and attacking technology has become almost second nature to many people today; the Futurist manifestos show us an alternative philosophy.

　　2、Expressionism, in the visual, literary, and performing arts, a movement or tendency that strives to express subjective feelings and emotions rather than to depict reality or nature objectively.
　　Expressionism used to describe the works of art and literature in which the representation of reality is distorted to communicate inner vision, transforming nature rather than imitating it;/ in literature, to be considered a revolt against realism and naturalism, a seeking to achieve a psychological or spiritual reality rather than to record external events;/ in drama, the expressionist work was characterized by a bizarre distortion of reality;/ the movement, though short-lived , give impetus to a free form of writing and of theatrical production.

　　3、The Impressionist composers attempted to describe scenes and evoke moods by the use of rich harmonies and a wide palette of timbre.

　　4、Post-Impressionism key dates: 1880-1920
　　Post-Impressionism follows Impressionism. The writers involved were influenced by Impressionism although their works share few similarities. They pursue individual goals, theories, and interests.
　　Post-impressionist renounced “the abominable error of naturalism” and sought a simpler truth and purer aesthetic in writing; turning away from the sophisticated, urban art world of Paris, instead looked for inspiration in rural communities with more traditional values.
　　In general, Post-Impressionism led away from a naturalistic approach and toward the two major movements of early 20th-century art that superseded it: Cubism and Fauvism, which sought to evoke emotion through color and line.

　　5、 “达达主义”原本是二十世纪初，在瑞士苏黎世兴起的一种激进的、带有强烈虚无主义色彩的现代文艺思潮。
　　A: “达达”原来是法语中婴儿说话中发出Da-Da的音节，没有含意。作为文艺流派的用语，最先出现在文学领域中的诗歌创作。它的思想特征是：厌恶战争，反对战争；叛逆阶级统治；无政府主义倾向。其艺术观念的本质是：崇尚虚无，蔑视理性和传统；鄙弃美学规律，主张“废除绘画和所有审美要求”，信奉巴枯宁的“破坏就是创造”的思想；崇尚非物质的非客观的“真实”，实质是倡导主观抽象。于是诗人们用破碎的艺术形象、零乱的艺术语言创作，使诗作象梦呓，令人不可解读。“达达主义”的冠名即由此而来。
　　B: 1916年3月16日，达达主义诞生在瑞士苏黎世诞生。达达是欧洲艺术、文学运动，提倡颠覆传统美学、文化价值。达达主义作品以无意义、滑稽和不和谐为宗旨。达达名字的由来又很多种说法：有些人说就是一个没有意义的词；有些人说因为罗马尼亚艺术家崔施坦•扎拉和马塞尔•扬科经常用到这个词，是罗马尼亚语“是的，是的”的意思。还有人认为是几个艺术家在1916年于苏黎世碰面，为了给新运动起一个名字，就用裁纸刀刺一本法德字典。结果刀尖碰到了达达这个词。但是这个运动只持续了7年。
　　Because they attempted to undermine the way art was viewed in the 20th century, the dadaists chose to name their movement after a baby phrase to show the way their anti-art was shaking everything up. Several myths regarding the invention of the name "Dada" exist, including that it was a form of mockery against the Russian Tzara, who is widely viewed as the father of the movement (in Russian "da, da" is "yes, yes", a name that still offers no indication of the art that bears it). (Tristan Tzara (nee Samuel Rosenstock), French poet (born in Romania) who was one of the co-founders of the Dada movement (1896-1963).
　　(第一次世界大战期间的战乱使一些厌恶战争，悲观愤世，但无法又无力改变现实的画家苦闷、彷徨，于是文学中的达达主义思潮自然在美术领域得到共鸣和响应。这些美术家将艺术创造视同游戏，将一些被人废弃的毫不相干的零碎物件作为构成元素和某种意象符号拼构成画面视若作品、当作创造。于是艺术史家也把它们称作“达达主义美术”。1916: Dadaism was born in Zurich, Switzerland on March 16th. It is an European artistic and literary movement that flouted conventional aesthetic and cultural values by producing works marked by nonsense, travesty, and incongruity. The origin of the name Dada is unclear. Some believe that it is a nonsensical word. Others maintain that it originates from the Romanian artists Tristan Tzara and Marcel Janco's frequent use of the words da, da, meaning yes, yes in the Romanian language. Others believe that a group of artists assembled in Zurich in 1916, wanting a name for their new movement, chose it at random by stabbing a French-German dictionary with a paper knife, and picking the name that the point landed upon. The movement only lasted for 7 years.)

　　7、Imagism: poetic movement of England and the U.S., flourished from 1909 to 1917. (1) the creation of new rhythms. (2) absolute freedom in choice of subject matter. (3) opposed to the romantic conception of poetry, clear images. (4) concision of language.
　　The Imagist Movement: Led by the American poet Ezra Pound;/a poetic movement that flourished in the U.S. and England between 1909-1917;/three main principles endorsed by Pound as guidelines for Imagism: direct treatment of poetic subjects, elimination of merely ornamental or superfluous words, and rhythmical composition should be composed with the phrasing of music, not a metronome.
　　a. Imagist poems tend to be short, composed of short lines of musical cadence rather than metrical regularity, to avoid abstraction, and to treat the image with a hard, clear precision rather than with overt symbolic intent/ the influence of Japanese forms, tanka and haiku, obvious in many.
　　b. most of the imagist poets wrote in free verse and they like to employ common speech.they stresses the freedom in the choice of subject matter and form.
　　Imagism was only one of the new techniques of writing poetry that was part of the modernist period and it was one of the most essential techniques. There were others with names such as surrealism, cubism, and combinations of words like these. Not all modernists were imagists. It was only one technique that tried to be revolutionary, tried to do something new with language. Here are some major characteristics of imagism.
　　A. With a spirit of revolt against conventions, imagism was anti-romantic and anti-Victorian. Victorian poetry was characteristic of moralizing tendencies, over-padding of extra-poetic matter, and traditional iambic pentameter. But imagism stressed free choice of subject matters (often dealing with single, concentrated moments of experience), concreteness of imagery, musical phrases, econ­omy of expression, and the use of a dominant image, or a quick succession of related images. It aimed at instantaneous effect, visual and concise. Pound defined an image as an intellectual and e­motional complex in an instant of time, as a vortex or cluster of fused ideas endowed with energy. Anyhow, an imagist's image represented a moment of revealed truth. Imagists used the language of common speech and employed exact words instead of the flowery language of poetry. They avoided all cliché expressions, the ornate diction, and complex verse forms of traditional poetry.
　　B. Imagism produced free verse without imposing a rhythmical pattern. The rhythm was com­posed as if the poet were making a musical phrase. This was a doing-away with conventions of meter so that the poet needed not make his ideas fit into an established meter as in a sonnet or a ballad. The poet created new rhythms in the sequence of the musical phrase as the expressions of a new mood.
　　C. In a sense, imagism was equivalent to naturalism in fiction. Imagism in poetry came from the same basis as naturalism in fiction. Naturalism was based on scientific observation, a feeling of determinism that the reader should look only at the outside objects with no attempt to get inside of them. The imagist writers also had the same feeling of determinism that the reader should look only at the image. If the reader looks at the image, it will evoke an emotion immediately. Describe this image and the reaction occurs automatically. It is very biological, very scientific. It seems that they were creating a poem in the laboratory. They never stated the emotion in the poem. They just pre­sented an image: concrete, firm, definite in picture, yet harsh in outline. Any significance to be derived from the image had to appear inherent in its spare, clean presentation.
　　D. Imagism tried to record objective observations of an object or a: situation without interpreta­tion or comment by the poet. It used suggestion rather than complete statement and saw concentration as the very essence of poetry. It presented the object directly and worked in non-syntactical frag­ments. The imagists remained totally objective. They merely wanted to give the reader an image. That was a picture, or a sound, or a smell, or a taste, or a touch. All of those were concrete im­ages that appealed to the senses. In this way, the poet presented the central picture. Imagism re­quired a poet to present just the picture9 not his insight. This was a radical change from the way po­etry had been written in the 19th century. These modernist poets tried to keep their ideas to them­selves, merely giving the reader the description of the outward surface. What these people hoped to accomplish with their technical skill was to give the reader a stimulus that would have an emotional response in the reader's mind. Therefore, an imagist poem consists of clear visual images, often juxtaposed with other images, prompting the reader to an imaginative response that completes its meaning.
　　Imagism, which included such theorists and practitioners as t. e. hume, hilda doolittle, amy lowell, ezra pound, etc. the movement was a direct reaction to the late victorian poetry, which had become extremely artificial, emptily “rhetorical” and “ornamental”. to address such problems, it was necessary to loosen the metrical pattern and bring it back closer to the rhythms of ordinary speech. consequently, the “imagist” movement had a great deal to do with promoting experiments with free verse, advocating among many creeds the need “to allow absolute freedom in the choice of subject” and “to produce poetry that is hard and clear, never blurred nor indefinite.” when archibald macleish said in his ars poetica (1926) that “a poem should not mean / but be”, he had similar concerns in his mind. imagism, minor as it is as a literary movement, triggered important changes in literary criticism, introducing the notion of internal studies as embodied by new criticism to substitute the conventional critical practices.

　　8、超现实主义 Surrealist film
　　1920年兴起于法国，主要是将意象做特异的、不合逻辑的安排，以表现人类潜意识的种种状态。路易斯．布纽尔的《安达鲁之犬》可以算是早期超现实主义电影的经典作品。而超现实主义电影的兴起旨在反抗写实主义与传统艺术，领导人安德烈．布列东的一篇宣言中提到：「一种纯粹的心灵自动作用，在此作用之下，试著以语言、文字或其它任何方式，来表现思想真正的运作情形。」后来超现实主义成为实验电影与地下电影的重要源头，如美国的玛雅．黛伦与肯尼斯．安格。商业电影中超现实主义并不是主要派别，只出现在个别导演的电影中，如伍迪．艾伦。
　　Surrealism (n.) is a style of art and literature developed principally in the 20th century, stressing the subconscious or nonrational significance of imagery arrived at by automatism or the exploitation of chance effects, unexpected juxtapositions, etc.
　　Surrealism is a style in which fantastical visual imagery from the subconscious mind is used with no intention of making the work logically comprehensible. Founded by Andre Breton in 1924, it was a primarily European movement that attracted many members of the chaotic Dada movement. It was similar in some elements to the mystical 19th-century Symbolist movement, but was deeply influenced by the psychoanalytic work of Freud and Jung.
　　Surrealism - was developed by the 20th-century literary and artistic movement. The surrealist movement of visual art and literature, flourishing in Europe between World Wars I and II. Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; but Surrealism emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the "rationalism" that had guided European culture and politics in the past and had culminated in the horrors of World War I. According to the major spokesman of the movement, the poet and critic André Breton, who published "The Surrealist Manifesto" in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely, that the world of dream and fantasy would be joined to the everyday rational world in "an absolute reality, a surreality." Drawing heavily on theories adapted from Sigmund Freud, Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike. This movement continues to flourish at all ends of the earth. Continued thought processes and investigations into the mind produce today some of the best art ever seen.

　　9、Stream-of-Consciousness: a term coined by William James in his The Principles of Psychology to describe the flow of thoughts of the waking mind, now widely used in a literary context to describe the unspoken thoughts and feelings of the characters, without resorting to objective description or conventional dialogue;/ adapted and developed by Joyce, V. Woolf, and others;/ the ability to represent the flux of a character’s thought, impressions, emotions, or reminiscences, often without logical sequence of syntax, marked a revolution in the form of novel at that time.

未来主义
(强烈)表现主义
后印象主义
达达主义
立体主义
意象派(又名 影象主义)
超现实主义

未来主义
表现主义
后代印象派
虚无主义
后面的不知道了
更不用说关系了
字典上没有么？
imagism 应该是想象派的意思吧