摘要
“九叶”诗人与五四新文学以来的现代主义诗歌有所不同,其原因在于这群年轻的诗人能够结合中国当时的现实语境和个人的人生体验,自觉自为地借鉴和吸收西方反讽诗学,冯至等文学巨匠对西方反讽诗学的关注,深深影响着“九叶”诗人对西方反讽诗学的译介取舍。燕卜荪的《朦胧的七种类型》与新批评派理论的重要诗学原则——反讽——有着密切联系,有助于九叶诗人对于反讽艺术的掌握,而奥登在中国的活动也促进了“九叶”诗人对以奥登为代表的新批评派诗歌反讽特征的兴趣与理解。
The＂Jiuye＂poets are different from modem ones which have existed since the appearance of the May Fourth＇ new literature . The reason lies in the fact that these young poets who, combining China＇ reality of that time with their own life experience, were able to draw lessons from the western irony poetics. Moreover,literature giants such as Feng zhi, with their attention to the western irony poetics, have deeply influenced ＂Jiuye＂ poetics on how to translate and introduce them. Empson＇ s Seven Types of Ambiguity has close relationships with the most important New Crictis ＇ theory -- irony ,and has great benefit on the comprehension of irony art of ＂Jiuye＂poetics. Furthermore, Auden＇ activities in China also enhanced ＂Jiuye＂poets ＇ s interest in and comurehension of the irony characteristic of New Crictis with Audon as their model
出处
《中国文学研究》
CSSCI
北大核心
2007年第2期113-115,共3页
Research of Chinese Literature
关键词
“九叶”诗人
反讽诗学
燕卜逊
新批评
译介
＂Jiuye＂ poets
irony poetics
Empson
the New Crictis
translate and introduce
