工业时代的风雅颂
摘要
世纪之交,传统与西化之间的对抗色彩正在淡化,“古典”作为一种诗歌元素自觉、不自觉地出现在许多诗人的诗作之中。正是有感于此,本文借用“新古典主义”这一诗歌概念,聚焦世纪之交的大陆诗歌创作,将此类向传统“回归”的现代新诗置于考察视野之中。由于这种直击诗歌现场的当下性,较为系统的研究极为匮乏。本文通过梳理出一种生态性的诗歌存在,大胆地作出“填空”的尝试。并不敢说有多少创新的成分,旨在抛砖引玉、为今后的诗歌创作与研究提供一些有益的启示。孔灏、杨键、盘秒斌、李轻松、路也等风格各异的诗人的诗歌作品由此相聚一堂,共同构成本文论述的对象。
全文由四部分构成。第一部分界定新古典主义诗歌及其产生的文化语境,指出本文论述的“新古典主义”并非蓝海文所定义的“新古典主义”,而是一个相对宽泛的概念,它既非一种文学流派、门户又非明确的思潮和创作范式,而是一种自觉、半自觉的创作思维理念和艺术审美倾向。新古典主义诗歌是世纪之交一种生态性的诗歌存在,它的出现是文学自身规律使然,是对时代思潮不自觉的回应,也是诗人自身选择的结果。
第二部分分为三个小节。分别选取古典情结、山水田园、古典元素三个视角,论述了新古典主义诗歌的思想与情感内涵。第一节以“盛唐情结”、“江南情结”与“江湖情结”为例,指出古典情结背后隐藏的是诗人对往昔之美的缅怀、想象与重构的冲动。第二节指出新古典主义诗歌流露出对自然万物的亲厚,对依山傍水生活的渴望。在张扬感性生命的同时,它正以回望乡土的方式架筑起通向古典文化的桥梁。第三节论述了新古典主义诗歌对历史人物、古代经典、典故、俗语等文化素材的运用,指出对中华民族文化素材的大量使用与现代翻新不仅是传统的延续,也是创新的一种方式。
论文第三部分从传统诗艺的创造性继承、意境营造与抒情性三个方面阐述了新古典主义诗歌的艺术形态。新古典主义诗歌的创作者们从古典诗艺中为现代诗汲取养分,具体体现在诗歌的形式、节奏韵律、技法等方面。同时,这些创作者们还致力于意境的营造,他们或利用古典文学中的典型意象、典型情境及典型的人格情操生成具有典型性的意境,或以情景交融的画面营造富有张力的诗意空间,或利用整齐的对比、浓缩的情感达到言有尽而意无穷的效果。“背靠历史”的新古典主义在创作上还体现了对诗歌抒情性的回归与坚守。它不仅承袭了温柔敦厚的抒情传统,而且在创作中补充了新的内容,在抒情的表达方式、情感的多义性以及抒情广度等方面都有所拓展。
第四部分论述了新古典主义诗歌的意义与限度。新古典主义诗歌对抒情的执着,与自然的亲近,对文化与历史的自觉承接等都显示出其对诗歌审美特性的坚守。传统文化自身的“反现代性”结合了“后现代主义”,体现出一种对现代社会天人分裂、心灵异化的不满,对健康自然、和谐美好的人性的呼唤。但批评质疑的声音同样不绝于耳。这些批评的矛头主要指向两个方面,一是过分倚赖古典意境营造造成的与现实生活的疏离;二是易陷入巨大的传统惯性之中,落入定势的思维模式,对于审美与诗歌感受力反而是一种遮蔽和麻木。
新古典主义诗歌是当下诗坛一道风格独具的美丽景观,它典雅、含蓄、和谐,有着对美孜孜不倦的追求,更蕴藏着蓬勃向上的生命活力。从某种程度上讲,新古典主义可以视为对当代诗歌混乱与危机的一种反思。它以审美为武器、以退守为姿态对工业文化、消费文化进行了温和的批判,背后隐藏着整合的文化需求。
汉语的土地需要诗意的耕耘,我们的现实生活需要诗性的润泽,笔者愿今后诗歌的百草园中能有更多的优秀之作呈现。
Turn of the century, the confrontation between tradition and Westernization color is diluted, "classical" as a poetic element of conscious or unconsciously, many poets in the poetry of being. This is the Feeling, This article uses the "new classical" concept of the poem, focusing the continent at the turn of the century poems of this kind to the traditional "return" As for the study of modern poetry into perspective. Watch the scene because of this moment of poetry, a more systematic study is extremely scarce. This paper came out with a kind of ecological poetry there, bold as to make "fill in the blank" attempt. Does not say how many innovative components designed to initiate for the future of poetry writing and provide some useful inspiration. Kong Hao, Yang Jian, disk seconds Bin, Li easy, way too different and so the poet's style of poetry has thus come together to jointly become the object of this paper.
Paper consists of four parts. The first part of the definition of neo-classical poetry and the Cultural Context, pointed out that the article discusses the "new classical" is not defined in the text Blue Ocean's "neo-classical", but a relatively broad definition, it is neither a kind of literary genre, the portal nor a clear pattern of thought and creativity, but a conscious, semi-conscious idea of creative thinking and aesthetic inclination. Neo-classical poetry is a kind of ecology at the turn of the century's poetry exists, it is literature itself, the emergence of the law dictates, is the time to respond to unconscious thought is the result of the poet's own choice.
The second part is divided into three sections. Select the classical complex, respectively, pastoral, classical elements of three perspectives, discusses the neo-classical poetry of thought and emotional content. Section I of "Tang Complex", "South Complex" and "Wild Heart", for example, pointed out that the classical complex is hidden behind the poet's memory of past beauty, imagination and reconstruction of the impulse. Section II pointed out that the neo-classical poetry to show the world of nature's kind and affectionate, eager to live on the mountain and river. In Zhang Yang emotional life, while neo-classical poetry is to look back to the way local frame build a bridge leading to the classical culture. Section III discusses the neo-classical poetry of the historical figures, ancient classical allusion, saying the use of such cultural material, that material on the extensive use of Chinese culture and modern renovation is not only a continuation of tradition, is an innovative way.
In third part of the creative arts from the traditional poetic succession, creating mood and emotion of the three aspects of the new art form of classical poetry. Neo-classical poetry creators of classical poetry from the Arts draw nutrients for modern poetry, embodied in the form of poetry, rhythm, technique and so on. At the same time, these artists are also committed to creating the mood, or use them in the typical images of classical literature, the typical situation and the typical personality and sentiment typical of the mood generated, or pictures of the scenes and create a space full of poetic tension, or use neat contrast, concentrated emotion to words have to do the observation to the effect. "Back history" neo-classical is also reflected in the creation of lyric poetry and the adhere to the return. It not only inherited the gentle lyric tradition, but also in the creation of new content added, lyrical expression, lyric more complicated and ambiguous and so has the development of lyrical breadth.
Part IV discusses the significance of neo-classical poetry and limits. Neo-classical poetic and lyrical poetry of the attachment, intimacy with nature, culture and historical consciousness of the undertaking have shown their aesthetic characteristics of poetry stick. Traditional culture itself "anti-modern" combination of "postmodernism", reflecting a split heaven in modern society, spiritual alienation of dissatisfaction, on the health of natural, harmonious and beautiful call of human nature. But critics question the endless sound the same. The main point of criticism directed two aspects to create over-reliance on the classical conception and the reality of life caused by the alienation; 2 is easy to fall into a great tradition of inertia among the fixed mode of thinking into, for aesthetics, but for the sensibility is a shelter, and numbness.
To some extent, neo-classical poetry of contemporary poetry a reflection of chaos and crisis, it is the aesthetic as a weapon to retreat as the attitude of the industrial culture, consumer culture had mild criticism, behind the integration cultural needs. Finally, I sincerely wish this kind of poetry in the future be able to see more of for good.
全文由四部分构成。第一部分界定新古典主义诗歌及其产生的文化语境,指出本文论述的“新古典主义”并非蓝海文所定义的“新古典主义”,而是一个相对宽泛的概念,它既非一种文学流派、门户又非明确的思潮和创作范式,而是一种自觉、半自觉的创作思维理念和艺术审美倾向。新古典主义诗歌是世纪之交一种生态性的诗歌存在,它的出现是文学自身规律使然,是对时代思潮不自觉的回应,也是诗人自身选择的结果。
第二部分分为三个小节。分别选取古典情结、山水田园、古典元素三个视角,论述了新古典主义诗歌的思想与情感内涵。第一节以“盛唐情结”、“江南情结”与“江湖情结”为例,指出古典情结背后隐藏的是诗人对往昔之美的缅怀、想象与重构的冲动。第二节指出新古典主义诗歌流露出对自然万物的亲厚,对依山傍水生活的渴望。在张扬感性生命的同时,它正以回望乡土的方式架筑起通向古典文化的桥梁。第三节论述了新古典主义诗歌对历史人物、古代经典、典故、俗语等文化素材的运用,指出对中华民族文化素材的大量使用与现代翻新不仅是传统的延续,也是创新的一种方式。
论文第三部分从传统诗艺的创造性继承、意境营造与抒情性三个方面阐述了新古典主义诗歌的艺术形态。新古典主义诗歌的创作者们从古典诗艺中为现代诗汲取养分,具体体现在诗歌的形式、节奏韵律、技法等方面。同时,这些创作者们还致力于意境的营造,他们或利用古典文学中的典型意象、典型情境及典型的人格情操生成具有典型性的意境,或以情景交融的画面营造富有张力的诗意空间,或利用整齐的对比、浓缩的情感达到言有尽而意无穷的效果。“背靠历史”的新古典主义在创作上还体现了对诗歌抒情性的回归与坚守。它不仅承袭了温柔敦厚的抒情传统,而且在创作中补充了新的内容,在抒情的表达方式、情感的多义性以及抒情广度等方面都有所拓展。
第四部分论述了新古典主义诗歌的意义与限度。新古典主义诗歌对抒情的执着,与自然的亲近,对文化与历史的自觉承接等都显示出其对诗歌审美特性的坚守。传统文化自身的“反现代性”结合了“后现代主义”,体现出一种对现代社会天人分裂、心灵异化的不满,对健康自然、和谐美好的人性的呼唤。但批评质疑的声音同样不绝于耳。这些批评的矛头主要指向两个方面,一是过分倚赖古典意境营造造成的与现实生活的疏离;二是易陷入巨大的传统惯性之中,落入定势的思维模式,对于审美与诗歌感受力反而是一种遮蔽和麻木。
新古典主义诗歌是当下诗坛一道风格独具的美丽景观,它典雅、含蓄、和谐,有着对美孜孜不倦的追求,更蕴藏着蓬勃向上的生命活力。从某种程度上讲,新古典主义可以视为对当代诗歌混乱与危机的一种反思。它以审美为武器、以退守为姿态对工业文化、消费文化进行了温和的批判,背后隐藏着整合的文化需求。
汉语的土地需要诗意的耕耘,我们的现实生活需要诗性的润泽,笔者愿今后诗歌的百草园中能有更多的优秀之作呈现。
Turn of the century, the confrontation between tradition and Westernization color is diluted, "classical" as a poetic element of conscious or unconsciously, many poets in the poetry of being. This is the Feeling, This article uses the "new classical" concept of the poem, focusing the continent at the turn of the century poems of this kind to the traditional "return" As for the study of modern poetry into perspective. Watch the scene because of this moment of poetry, a more systematic study is extremely scarce. This paper came out with a kind of ecological poetry there, bold as to make "fill in the blank" attempt. Does not say how many innovative components designed to initiate for the future of poetry writing and provide some useful inspiration. Kong Hao, Yang Jian, disk seconds Bin, Li easy, way too different and so the poet's style of poetry has thus come together to jointly become the object of this paper.
Paper consists of four parts. The first part of the definition of neo-classical poetry and the Cultural Context, pointed out that the article discusses the "new classical" is not defined in the text Blue Ocean's "neo-classical", but a relatively broad definition, it is neither a kind of literary genre, the portal nor a clear pattern of thought and creativity, but a conscious, semi-conscious idea of creative thinking and aesthetic inclination. Neo-classical poetry is a kind of ecology at the turn of the century's poetry exists, it is literature itself, the emergence of the law dictates, is the time to respond to unconscious thought is the result of the poet's own choice.
The second part is divided into three sections. Select the classical complex, respectively, pastoral, classical elements of three perspectives, discusses the neo-classical poetry of thought and emotional content. Section I of "Tang Complex", "South Complex" and "Wild Heart", for example, pointed out that the classical complex is hidden behind the poet's memory of past beauty, imagination and reconstruction of the impulse. Section II pointed out that the neo-classical poetry to show the world of nature's kind and affectionate, eager to live on the mountain and river. In Zhang Yang emotional life, while neo-classical poetry is to look back to the way local frame build a bridge leading to the classical culture. Section III discusses the neo-classical poetry of the historical figures, ancient classical allusion, saying the use of such cultural material, that material on the extensive use of Chinese culture and modern renovation is not only a continuation of tradition, is an innovative way.
In third part of the creative arts from the traditional poetic succession, creating mood and emotion of the three aspects of the new art form of classical poetry. Neo-classical poetry creators of classical poetry from the Arts draw nutrients for modern poetry, embodied in the form of poetry, rhythm, technique and so on. At the same time, these artists are also committed to creating the mood, or use them in the typical images of classical literature, the typical situation and the typical personality and sentiment typical of the mood generated, or pictures of the scenes and create a space full of poetic tension, or use neat contrast, concentrated emotion to words have to do the observation to the effect. "Back history" neo-classical is also reflected in the creation of lyric poetry and the adhere to the return. It not only inherited the gentle lyric tradition, but also in the creation of new content added, lyrical expression, lyric more complicated and ambiguous and so has the development of lyrical breadth.
Part IV discusses the significance of neo-classical poetry and limits. Neo-classical poetic and lyrical poetry of the attachment, intimacy with nature, culture and historical consciousness of the undertaking have shown their aesthetic characteristics of poetry stick. Traditional culture itself "anti-modern" combination of "postmodernism", reflecting a split heaven in modern society, spiritual alienation of dissatisfaction, on the health of natural, harmonious and beautiful call of human nature. But critics question the endless sound the same. The main point of criticism directed two aspects to create over-reliance on the classical conception and the reality of life caused by the alienation; 2 is easy to fall into a great tradition of inertia among the fixed mode of thinking into, for aesthetics, but for the sensibility is a shelter, and numbness.
To some extent, neo-classical poetry of contemporary poetry a reflection of chaos and crisis, it is the aesthetic as a weapon to retreat as the attitude of the industrial culture, consumer culture had mild criticism, behind the integration cultural needs. Finally, I sincerely wish this kind of poetry in the future be able to see more of for good.
引文
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