1。2 The Scholarship on William Butler Yeats’ works

A great many of critics make numerous analysis and studies of Yeats's poems from different perspectives。 The masterpiece of A。 Norman Jeffries, New Comments on Yeats, focuses on the idea, the theme, the conjecture and the structure in Yeats's poetry。 T。 S。 Eliot spoke highly of Yeats, defined him as "the voice of the whole human beings" (Cullingford 341)。 In 1942, Alan Tate wrote the article “Yeats study in the future”, predicting that there will be a "Yeats Heat" in the near future (352)。

Compared with the western countries, Yeats study in China begins in a relatively late time。 Zhou LiangYu published the very first article on several Yeats' poems in the Foreign Literature Magazine in 1982, in which the author discussed a couple of representative poems of Yeats such as When You Are Old, and Easter 1916, leading the trend of Yeats study in China。 In the following decades, an increasing number of experts are devoted themselves into Yeats study, which mainly concentrated on the following aspects:文献综述

First, just as in the western countries, the profound imagination and prevalent symbols in Yeats’ works attracted a great many of scholars and researchers in China as well。 The research of certain images became a common starting point in domestic Yeats study。 Such as the study of the image of “rose” by Wan Fangzheng and Shen Dan from the perspectives of rational symbol and imagination。 In paper Illustration of the Artistic Symbol Yeats's Poerty, Lv Jianan used the theory of art symbolism to analyze the images and their potential meaning in Yeats's masterpiece “Sailing to Byzantium”。 Yeats was a master in utilizing symbols。 His works are full of various implications stemming from different stories and allusions and possessing integrated values and functions。 The experts, however, have not comprehensively developed a system in analyzing the usage of these symbolic signals, which remained to be a great pity。

Oriental mysticism thinking is another important field。 Yeats evoked great attention from Chinese scholars and experts for the numerous oriental elements in his works。 Dong Hongying made a systematic study of Yeats's oriental development in A Post-colonial Interpretation of Yeats，Mystical Thinking。 Fu Hao discussed how Yeats was influenced by oriental mysticism in his Yeats' Mythology Thinking and its Effect on Literature Creation and The Oriental Elements in Yeats’ Poems and provided specific reflections。

The third study of Yeats concentrates on the Irish theme in his poetry。 As an Irish poet, Yeats had profound emotional attachment towards Ireland。 When he grew up, he returned back to Ireland for inspiration, which reflected in his works as Irish allusions and tales。 In Tan Shuying’s The Irish Elements in Yeats ’Poems, she discusses the endeavor Yeats had made in reconstruct the Irish national identity using the method of localization。 Shao Chun’s A Created World of Dream--On the Irish Folklore Motif in Yeats Early Poetry explained Yeats's pursuit and dream of an ideal world during the process of conflict fighting。 来*自~优|尔^论:文+网www.youerw.com +QQ752018766*

1。3 Defamiliarization

Defamiliarization of that which is or has become familiar or taken for granted, hence automatically perceived, is the basic function of all devices。 And with defamiliarization come both the slowing down and the increased difficulty (impeding) of the process of reading and comprehending and an awareness of the artistic procedures (devices) causing them。 (Margolin 2005)

The term “defamiliarization” was first coined in 1917 by Viktor Shklovsky in his essay “Art as Device” (alternate translation: “Art as Technique”) (Crawford 209)。 Shklovsky invented the term as a means to “distinguish poetic from practical language on the basis of the former’s perceptibility” (Crawford 209)。 Essentially, he is stating that poetic language is fundamentally different than the language that we use every day because it is more difficult to understand: “Poetic speech is framed speech。 Prose is ordinary speech – economical, easy, proper, the goddess of prose [dea prosae] is a goddess of the accurate, facile type, of the “direct” expression of a child” (Shklovsky 20)。 This difference is the key to the creation of art and the prevention of “over-automatization,” which causes an inpidual to “function as though by formula” (Shklovsky 16)。 This distinction between artistic language and everyday language, for Shklovsky, applies to all artistic forms。