布寧「藝術哲學三部曲」的死亡詩學基調是如何構成的？

Abstract

俄羅斯作家布寧（Иван Алексеевич Бунин, 1870-1953）於1914-1916三年間寫成的三部短篇作品〈兄弟們〉（Братья, 1914）、〈從舊金山來的先生〉（Господин из Сан-Франциско, 1915）以及〈阿強的夢〉（Сны Чанга, 1916）被稱為「藝術哲學三部曲」（художественно-философская трилогия）。三個短篇雖名為「三部曲」，然而人物與情節卻不連貫，它們緊密關係的基礎在於藉由類似的藝術手法來探討關於生死的問題。本文透過剖析「藝術哲學三部曲」共通的對比結構以及一系列構成象徵語義場的藝術手法，闡述作品形式的藝術效果與思想內容，藉此歸納「三部曲」死亡詩學基調的形式構成與思想內涵，並系統論述之。

During the three successive years of 1914-1916, Russian writer Ivan Alekseyevich Bunin（Иван Алексеевич Бунин, 1870-1953）composed three short stories, which were called “artistic-philosophical trilogy”（художественно-философская трилогия）, including The Brothers（Братья, 1914）, The Gentleman from San Francisco（Господин из Сан-Франциско, 1915） and Chang’s Dreams（Сны Чанга, 1916）. The three independent literary works show close relations by their common interest in problems of philosophy of life, and by similar artistic processes in presenting the problematic of life and death.This article interprets philosophical contents in these three works by analyzing artistic processes, which build up the semantic field of symbology of the theme of death. Moreover, the formalistic similarities among the stories are recognized, since the artistic features shared among them appear to be significant in the formation of the leitmotiv of death in the Trilogy.