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題名 永恆巴洛克：一種感受性的多種具現
Eternal Baroque : Incarnations of a Sensibility
作者 舒卡夏
貢獻者 歐洲語文學系
關鍵詞 巴洛克詩; 自然元素; 安娜德諾雅; 憂鬱
poetry of baroque; natural elements; Anna de Noailles; melancholy
日期 2019-10
上傳時間 27-Jul-2026 10:41:54 (UTC+8)
摘要 在法國文學歷史上，很少有時期像巴洛克一樣能引起後代的議論紛紛，巴洛克時期，大致 位於1585 年－—羅沙（Pierre de Ronsard）逝世與1661 年－—路易十四登基之間。與古典 主義相比，巴洛克時期長期被認為是古典主義的一個次分類，而古典主義建立於興盛的傳 統法國古典教條：理性、清晰、秩序與方法，也被認為是使巴洛克時期的著作相形失色的 原因，而這種偏見導致了大眾忽略巴洛克時期著作的豐富內涵。一直要等到20 世紀的50 年代——尤其是在尚胡塞(Jean Rousset）的努力之下——巴洛克時期才在文學界獲得較有 利的地位，對於該時期的認識也變得較公正且深入。二戰後，學界以最客觀的態度來研究 此時期(歷史上所記錄的起訖年代為1858 年-1661 年)及相關作品，包含建築、繪畫以及 文學。 在這波研究巴洛克復甦的風潮中，西班牙哲學家道爾斯（Eugenio d’Ors）發表了一個令我 深感興趣的論點：「永恆巴洛克」(baroque éternel)，其中所探討的，並非是歷史意義上的 巴洛克時期，而是跨越歷史、時代的巴洛克，一方面帶有某種泛神論，是為相當成熟的宇 宙觀；另一方面則展現社會關係中虛飾(ostentation)與偽裝(masque)的重要性。在這樣的 觀點之下，巴洛克成為一種跳脫時間限制的雙重性美學，在時間洪流中不停地出現、循環， 也因此我們可以談論「複數形式的巴洛克」(des baroques)，而非單一時期的巴洛克(le baroque 或un baroque)(不再侷限於歷史意義中的巴洛克時期)，倘若我們隨著道爾斯的觀 點，便可發現有17 世紀前半葉的巴洛克，其特徵包含強烈矛盾(contradiction)、對比 (antithèse)、逆喻(oxymore)；波特萊爾式的巴洛克與其矛盾(ambivalence)美學；「世紀末」 時期(Fin de siècle)的巴洛克;克洛岱爾（Claudel）(《緞子鞋》（Le soulier de satin）)的巴 洛克；同時也有安娜德諾雅(Anna de Noailles)的巴洛克靈魂。 此研究計畫將倚重道爾斯「永恆巴洛克」的概念，為期兩年，第一年研究主題為《法國巴 洛克時期詩作中的自然元素》；第二年主題則是《安娜德諾雅(Anna de Noailles)（1876 年 至1933 年）：巴洛克靈魂》。
In the history of French literature, there are very few periods like Baroque which can cause the controversy of future generations. This period, from around 1585 (the death of Ronsard) to 1661 (the coming of the reign of Louis XIV) has been considered as a sub-category of French classism. This prejudice made the ignorance of the richness of pieces of work which so-called “baroque”, overshadowed by incredible success of classic doctrine of France for a long time, relying on the ration, the clarity, the order, and the measure. Until the fifties of the twentieth century, under the aegis of Jean Rousset, this period earns the higher position in the awareness of literature and develops the conception, more fair and detailed, of Baroque. Just right after the war, people observe this period- historically determinated from 1585 to 1661- and those works, including architectures, painting and literature, as objective as possible. In this resurgence of research of Baroque, a Spanish philosopher Eugenio d’Ors emitted a thesis which attract me a lot, it’s “eternal Baroque”. With this concept, the identity of Baroque is not a historically dated era, but a reality of trans-historical which goes through the time, and it is characterized by a part of pantheism, the cosmic significance is developed; the other importance is the ostentation in the domain of social relationship. In this perspective, the Baroque is a duality of aesthetic which is timeless, returning cyclically over time, and people don’t talk about “the baroque” but “these baroques”. If we follow Eugenio d’Ors’s concept, the baroque in the first half of the seventeenth century is filled with the profound contradictions, antithesis, and oxymoron; but there is also the baroque of Baudelaire, with its ambivalence of his aesthetic, or the baroque of Claudel (The Satin Slipper). This project of research is clearly based on the concept of “eternal baroque” of Eugenio d’Ors, and is designed for two years. In the first year, I would like to work on the subject: “The natural elements in the French poetry of baroque”. In the second year, this research would be titled as: “Anna de Noailles (1876-1933), baroque soul”.
關聯 科技部, MOST106-2410-H004-022-MY2, 106.08-108.07
資料類型 report
dc.contributor 歐洲語文學系
dc.creator (作者) 舒卡夏
dc.date (日期) 2019-10
dc.date.accessioned 27-Jul-2026 10:41:54 (UTC+8)-
dc.date.available 27-Jul-2026 10:41:54 (UTC+8)-
dc.date.issued (上傳時間) 27-Jul-2026 10:41:54 (UTC+8)-
dc.identifier.uri (URI) https://ah.lib.nccu.edu.tw/item?item_id=183452-
dc.description.abstract (摘要) 在法國文學歷史上，很少有時期像巴洛克一樣能引起後代的議論紛紛，巴洛克時期，大致 位於1585 年－—羅沙（Pierre de Ronsard）逝世與1661 年－—路易十四登基之間。與古典 主義相比，巴洛克時期長期被認為是古典主義的一個次分類，而古典主義建立於興盛的傳 統法國古典教條：理性、清晰、秩序與方法，也被認為是使巴洛克時期的著作相形失色的 原因，而這種偏見導致了大眾忽略巴洛克時期著作的豐富內涵。一直要等到20 世紀的50 年代——尤其是在尚胡塞(Jean Rousset）的努力之下——巴洛克時期才在文學界獲得較有 利的地位，對於該時期的認識也變得較公正且深入。二戰後，學界以最客觀的態度來研究 此時期(歷史上所記錄的起訖年代為1858 年-1661 年)及相關作品，包含建築、繪畫以及 文學。 在這波研究巴洛克復甦的風潮中，西班牙哲學家道爾斯（Eugenio d’Ors）發表了一個令我 深感興趣的論點：「永恆巴洛克」(baroque éternel)，其中所探討的，並非是歷史意義上的 巴洛克時期，而是跨越歷史、時代的巴洛克，一方面帶有某種泛神論，是為相當成熟的宇 宙觀；另一方面則展現社會關係中虛飾(ostentation)與偽裝(masque)的重要性。在這樣的 觀點之下，巴洛克成為一種跳脫時間限制的雙重性美學，在時間洪流中不停地出現、循環， 也因此我們可以談論「複數形式的巴洛克」(des baroques)，而非單一時期的巴洛克(le baroque 或un baroque)(不再侷限於歷史意義中的巴洛克時期)，倘若我們隨著道爾斯的觀 點，便可發現有17 世紀前半葉的巴洛克，其特徵包含強烈矛盾(contradiction)、對比 (antithèse)、逆喻(oxymore)；波特萊爾式的巴洛克與其矛盾(ambivalence)美學；「世紀末」 時期(Fin de siècle)的巴洛克;克洛岱爾（Claudel）(《緞子鞋》（Le soulier de satin）)的巴 洛克；同時也有安娜德諾雅(Anna de Noailles)的巴洛克靈魂。 此研究計畫將倚重道爾斯「永恆巴洛克」的概念，為期兩年，第一年研究主題為《法國巴 洛克時期詩作中的自然元素》；第二年主題則是《安娜德諾雅(Anna de Noailles)（1876 年 至1933 年）：巴洛克靈魂》。
dc.description.abstract (摘要) In the history of French literature, there are very few periods like Baroque which can cause the controversy of future generations. This period, from around 1585 (the death of Ronsard) to 1661 (the coming of the reign of Louis XIV) has been considered as a sub-category of French classism. This prejudice made the ignorance of the richness of pieces of work which so-called “baroque”, overshadowed by incredible success of classic doctrine of France for a long time, relying on the ration, the clarity, the order, and the measure. Until the fifties of the twentieth century, under the aegis of Jean Rousset, this period earns the higher position in the awareness of literature and develops the conception, more fair and detailed, of Baroque. Just right after the war, people observe this period- historically determinated from 1585 to 1661- and those works, including architectures, painting and literature, as objective as possible. In this resurgence of research of Baroque, a Spanish philosopher Eugenio d’Ors emitted a thesis which attract me a lot, it’s “eternal Baroque”. With this concept, the identity of Baroque is not a historically dated era, but a reality of trans-historical which goes through the time, and it is characterized by a part of pantheism, the cosmic significance is developed; the other importance is the ostentation in the domain of social relationship. In this perspective, the Baroque is a duality of aesthetic which is timeless, returning cyclically over time, and people don’t talk about “the baroque” but “these baroques”. If we follow Eugenio d’Ors’s concept, the baroque in the first half of the seventeenth century is filled with the profound contradictions, antithesis, and oxymoron; but there is also the baroque of Baudelaire, with its ambivalence of his aesthetic, or the baroque of Claudel (The Satin Slipper). This project of research is clearly based on the concept of “eternal baroque” of Eugenio d’Ors, and is designed for two years. In the first year, I would like to work on the subject: “The natural elements in the French poetry of baroque”. In the second year, this research would be titled as: “Anna de Noailles (1876-1933), baroque soul”.
dc.format.extent 116 bytes-
dc.format.mimetype text/html-
dc.relation (關聯) 科技部, MOST106-2410-H004-022-MY2, 106.08-108.07
dc.subject (關鍵詞) 巴洛克詩; 自然元素; 安娜德諾雅; 憂鬱
dc.subject (關鍵詞) poetry of baroque; natural elements; Anna de Noailles; melancholy
dc.title (題名) 永恆巴洛克：一種感受性的多種具現
dc.title (題名) Eternal Baroque : Incarnations of a Sensibility
dc.type (資料類型) report