审美创新与个人体验——以西南联大现代诗人群体的诗歌创作为中心
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摘要
20世纪40年代西南联大诗人群体的现代新诗创作能够把西方的诗学理论参照和对传统中国诗学的关照融合起来,推陈出新,既具有一种新诗的现代派意识,又有来自于现实主义的审美体验和个人体验,从而创作出一种新颖而亮丽的抒情传统。这群诗人提倡新诗的戏剧化,认定诗歌的意义与作用全在于它对人生经验的推广与加深,以及最大可能的意识活动的收获,写诗最为重要的是把情感或意志转化为诗歌的经验。
The grouped poets of West-southern Combined university could melt the western literature theory with Chinese tradition poetry theories,their new poetries came from not only their modern consciousness but also their new lyrical tradition. They claim to new poenms to be theatrical and deepened their experiences,therefore they developed their style of poems and transferred their feelings into the experience of poems.
The grouped poets of West-southern Combined university could melt the western literature theory with Chinese tradition poetry theories,their new poetries came from not only their modern consciousness but also their new lyrical tradition. They claim to new poenms to be theatrical and deepened their experiences,therefore they developed their style of poems and transferred their feelings into the experience of poems.
引文
[1]张新颖. 20世纪上半期中国文学的现代意识[M].北京:三联书店,2001.
[2]穆旦.穆旦诗选[M].北京:人民文学出版社,1986:31.
[3]蓝棣之.九叶派诗选[M].北京:人民文学出版社,1992:380-381.
[4]郑敏.诗人与矛盾[M].南京:江苏人民出版社,1987:31.
[5]王芳.袁可嘉诗学体系的现代性追求[J].西南大学学报:社会科学版,2011(3):36-40.
[6]孙玉石.新诗现代化理论遮蔽的严肃思考[J].新文学史料,2011(1):125-134.
[7]袁可嘉.诗与主题[N].天津大公报,1947-01-14(2).
[2]穆旦.穆旦诗选[M].北京:人民文学出版社,1986:31.
[3]蓝棣之.九叶派诗选[M].北京:人民文学出版社,1992:380-381.
[4]郑敏.诗人与矛盾[M].南京:江苏人民出版社,1987:31.
[5]王芳.袁可嘉诗学体系的现代性追求[J].西南大学学报:社会科学版,2011(3):36-40.
[6]孙玉石.新诗现代化理论遮蔽的严肃思考[J].新文学史料,2011(1):125-134.
[7]袁可嘉.诗与主题[N].天津大公报,1947-01-14(2).