{"title":"对 J.-K. Huysmans 的小说《反自然》中 G. Moro 的画作 \"在希律王面前跳舞的莎乐美 \"的联想分析怀斯曼的小说 \"反自然 \"中的 \"莎乐美,在希律王面前跳舞 \"的联想分析","authors":"S. G. Gorbovskaya","doi":"10.24224/2227-1295-2024-13-2-269-285","DOIUrl":null,"url":null,"abstract":"The phenomenon of the “symbolic image” is examined using the example of the flower in Salome’s hand in Gustave Moreau’s painting “Salome Dancing before Herod” and the lotus in Salome’s hand in J.-K. Huysmans’ novel “Against the Grain.” The history of the terms ‘imago’, ‘archetype’, and ‘symbolic image’ in psychoanalysis is traced, as well as the influence of these psychoanalytic concepts on the perception of imagery in literature and painting. The relevance of the study lies in the enduring interest of literary scholars in issues related to the interplay between psychoanalysis and literature, as well as the theme of ekphrasis in literature. It is demonstrated that one of Moreau’s receptions of the “flower in Salome’s hand” became the lotus in Salome’s hand in Huysmans’ novel “Against the Grain.” It is established that Huysmans perceives Moreau’s famous phytomorph primarily as an unconscious concept of evil, anxiety, pain, illustrating his reasoning with vivid associations related to the perception of the flower in Moreau’s work. In conclusion, the author of the article points out that the imago-images of the “flower in Salome’s hand” and “lotus in Salome’s hand” become the starting impulse for creating an archetype that generates various new versions of “Salome’s flowers,” comparing lotuses and lilies in the works of H. del Casal, Elisa, and O. Wilde.","PeriodicalId":43602,"journal":{"name":"Nauchnyi Dialog","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2024-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Associative analysis of the painting by G. Moro “Salome, dancing before Herod” in the novel by J.-K. Huysmans “Against Nature”\",\"authors\":\"S. G. Gorbovskaya\",\"doi\":\"10.24224/2227-1295-2024-13-2-269-285\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The phenomenon of the “symbolic image” is examined using the example of the flower in Salome’s hand in Gustave Moreau’s painting “Salome Dancing before Herod” and the lotus in Salome’s hand in J.-K. Huysmans’ novel “Against the Grain.” The history of the terms ‘imago’, ‘archetype’, and ‘symbolic image’ in psychoanalysis is traced, as well as the influence of these psychoanalytic concepts on the perception of imagery in literature and painting. The relevance of the study lies in the enduring interest of literary scholars in issues related to the interplay between psychoanalysis and literature, as well as the theme of ekphrasis in literature. It is demonstrated that one of Moreau’s receptions of the “flower in Salome’s hand” became the lotus in Salome’s hand in Huysmans’ novel “Against the Grain.” It is established that Huysmans perceives Moreau’s famous phytomorph primarily as an unconscious concept of evil, anxiety, pain, illustrating his reasoning with vivid associations related to the perception of the flower in Moreau’s work. In conclusion, the author of the article points out that the imago-images of the “flower in Salome’s hand” and “lotus in Salome’s hand” become the starting impulse for creating an archetype that generates various new versions of “Salome’s flowers,” comparing lotuses and lilies in the works of H. del Casal, Elisa, and O. Wilde.\",\"PeriodicalId\":43602,\"journal\":{\"name\":\"Nauchnyi Dialog\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2024-03-22\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Nauchnyi Dialog\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.24224/2227-1295-2024-13-2-269-285\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Nauchnyi Dialog","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.24224/2227-1295-2024-13-2-269-285","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
我们以古斯塔夫-莫罗的画作《在希律面前跳舞的莎乐美》中莎乐美手中的花朵和 J.-K. Huysmans 的小说《逆流而上》中莎乐美手中的莲花为例,探讨了 "象征性图像 "的现象。怀斯曼的小说《逆流而上》中莎乐美手中的莲花。本研究追溯了精神分析中 "意象"、"原型 "和 "象征性形象 "等术语的历史,以及这些精神分析概念对文学和绘画中意象感知的影响。这项研究的意义在于,文学学者对精神分析与文学之间的相互作用以及文学中的 "咏物诗 "这一主题有着持久的兴趣。研究表明,莫罗对 "莎乐美手中的花朵 "的理解之一,就是惠斯曼的小说《逆流而上》中莎乐美手中的莲花。由此可以确定,惠斯曼斯将莫罗著名的植物形态主要感知为一种无意识的邪恶、焦虑、痛苦的概念,用与莫罗作品中对花的感知有关的生动联想来说明他的推理。最后,文章作者指出,"莎乐美手中的花 "和 "莎乐美手中的莲花 "这两个意象成为创造原型的起始动力,产生了各种新版本的 "莎乐美之花",将 H. del Casal、Elisa 和 O. Wilde 作品中的莲花和百合进行了比较。
Associative analysis of the painting by G. Moro “Salome, dancing before Herod” in the novel by J.-K. Huysmans “Against Nature”
The phenomenon of the “symbolic image” is examined using the example of the flower in Salome’s hand in Gustave Moreau’s painting “Salome Dancing before Herod” and the lotus in Salome’s hand in J.-K. Huysmans’ novel “Against the Grain.” The history of the terms ‘imago’, ‘archetype’, and ‘symbolic image’ in psychoanalysis is traced, as well as the influence of these psychoanalytic concepts on the perception of imagery in literature and painting. The relevance of the study lies in the enduring interest of literary scholars in issues related to the interplay between psychoanalysis and literature, as well as the theme of ekphrasis in literature. It is demonstrated that one of Moreau’s receptions of the “flower in Salome’s hand” became the lotus in Salome’s hand in Huysmans’ novel “Against the Grain.” It is established that Huysmans perceives Moreau’s famous phytomorph primarily as an unconscious concept of evil, anxiety, pain, illustrating his reasoning with vivid associations related to the perception of the flower in Moreau’s work. In conclusion, the author of the article points out that the imago-images of the “flower in Salome’s hand” and “lotus in Salome’s hand” become the starting impulse for creating an archetype that generates various new versions of “Salome’s flowers,” comparing lotuses and lilies in the works of H. del Casal, Elisa, and O. Wilde.