伊夫·博纳富瓦(Yves Bonnefoy)是法国二战后诗坛上出现的一位新秀。他与杜·布谢(Du Bouchet)、德盖(Deguy)、罗舍(Roche)、杜班(Dupin)同属60年代法国新诗界的代表,他既是一位诗人,也是一位在法国文学界颇有影响力的批评家。自1953年开始诗歌创作以来,至今他共发表诗集14部、批评论著19部和译作9部。这位出生在外省小城都尔的诗人,少年时代爱读古罗马诗人维吉尔的诗并深受其启蒙、青年时代把波德莱尔和兰波视为自己的楷模、榜样。1943—1947年,他在巴黎学习期间常与一些超现实主义诗人交往并参加其活动。这些交往与活动使他对超现实主义的诗歌理论产生了浓厚的兴趣,从而改变了他以往对于诗歌的一些看法。对待超现实主义诗歌理论,博纳富瓦也不是全盘接受,他对“自动写作”就提出自己的见解:“自动写作不是超现实。诗歌创作总要面对现实,即使是超现实的对象同样也是客观的。”他强调诗歌要在表现现实的方法上作一变革。博纳富瓦真正在诗坛上确立某个人地位是在1953年,因诗集《运动和杜芙的永恒》的发表。在这部作品中,他通过凤凰涅槃的神话原型表现了女神杜芙生命中的几个阶段,并对死亡主题作了形而上学的思考和探求。50年代末,他经历了一次思想危机,对诗歌语言的表现手段一度产生了质疑。也就从这一时? Yves Bonnefoy is a rookie on the French post-World War II poetry world. He and Du Bouchet, Deguy, Roche, and Dupin are both representatives of the French New Poetry Circle of the 1960s. He is both a poet and a member of the French literary world Influential critic. Since his poetry began in 1953, he has published 14 poems and 19 criticisms and 9 translations. The poet, born in a small provincial capital of Seoul, loved and read Enlightenment from the ancient Roman poet Virgil in his teens, and Baudelaire and Rimbaud were regarded as role models and role models in his youth. From 1943 to 1947, he often engaged with some surrealist poets during his studies in Paris and participated in his activities. These contacts and activities have given him a strong interest in surrealist poetry theory, thus changing his previous views on poetry. To treat surrealist poetry theory, Bonaventure is not entirely accepted. He put forward his own opinion on “automatic writing”: “Automatic writing is not surreal. Poetry creation always faces the reality that even surreal objects are the same It is also objective. ”He emphasized that poetry must make changes in the way it represents reality. Bonaventure really establish a person’s position in the poetry world in 1953, due to the collection of poems “Movement and Duff’s eternal” published. In this work, he shows several stages of his life through the mythological prototype of the Phoenix Nirvana and makes metaphysical thinking and exploration of the death theme. In the late 1950s, he experienced a crisis of thought and once questioned the means of expression in the poetry language. Also from this moment?