A Symphonic Poetic Space-Time: On Natural Imagery, the Art of Time, and Philosophical Reflections on Existence in <i>The Life of </i><i>Arsenyev</i>

《阿尔谢尼耶夫的一生》作为俄罗斯文学突破传统自传体范式的经典之作，通过自然意象、时间艺术与存在哲思三重维度，构建了布宁独特的“诗性时空交响”。本研究以文本细读与理论阐释为方法，揭示其如何以瞬间美学与跨文体叙事回应现代性困境。自然意象中，庄园的孤寂与甲虫的凝视既是贵族文明消逝的隐喻，也是生态主体性觉醒的象征；非线性叙事通过梦境闪回与感官触发的记忆碎片解构传统因果链，形成交响乐式复调结构，呼应海德格尔“向死而生”的哲学命题。爱情与死亡的二元共生及“逃离—回归”的空间隐喻揭示了自由与孤独的辩证性。布宁以非政治化美学超越意识形态纷争，将贵族没落升华为文明更迭的形而上学，凸显文学对生命本质的永恒凝视。本研究为现代文学对抗虚无主义提供了美学启示，其“瞬间即永恒”的核心理念为俄罗斯文学注入跨时代精神遗产。As a classic work that breaks through the traditional autobiographical paradigm in Russian literature, The Life of Arsenyev constructs Bunin’s unique “poetic space-time symphony” through three dimensions: natural imagery, temporal artistry, and existential philosophy. This study employs close reading and theoretical analysis to reveal how the novel responds to modern dilemmas through instant aesthetics and cross-genre narrative. In natural imagery, the desolation of manors and the gaze of beetles serve as metaphors for the decline of aristocratic civilization and symbols of ecological subjectivity awakening. Nonlinear narration deconstructs traditional causality through dreamlike flashbacks and sensory-triggered memory fragments, forming a symphonic polyphonic structure that echoes Heidegger’s philosophical proposition of “being-toward-death”. The binary symbiosis of love and death, along with the spatial metaphor of “escape-return,” reveals the dialectics of freedom and solitude. Bunin transcends ideological conflicts with his “apolitical aesthetics,” elevating aristocratic decline to a metaphysical allegory of civilizational transition, thereby highlighting literature’s eternal contemplation of life’s essence. This study provides aesthetic insights into modern literature’s resistance to nihilism, with its core concept of “instant as eternity” infusing Russian literature with a transgenerational spiritual legacy.