摘要
20世纪上半叶,现代新诗的"晦涩"问题是一个令批评家们聚讼纷纭的复杂话题,他们从作者、读者、文本等批评维度出发,指出"晦涩"不仅是作者在想象逻辑、理智探求和语言运用等方面进行的独特艺术创造,也是读者与诗人在审美修养和审美经验相互对接过程中产生的美丽错误,更是随着现代新诗的发展而诞生的一种新的诗的观念、新的审美原则。批评家们深度的思想交锋和饱满的诗学内涵不仅增强了"晦涩"命题的美学生长点,也赋予其深刻的文学史意义和鲜活的学术气息。
In the middle of 20th century,obscure poetics is a topic which is the controversy by most critics.From the point of writers,readers and texts,they point out obscurity is not only imaginable logical,intellectual exploration and language use,but also the beautiful fault which is produced in the process of aesthetic training and aesthetic experience.It is a new conception and aesthetic principle as the development of new development of new poetics.Critics＇ deeply thoughts and poetic connotation not only strengthens the aesthetic growing point of obscurity,but also gives deeper meaning in the history of literature and vivid academic breath.
出处
《黑河学院学报》
2012年第2期64-70,共7页
Journal of Heihe University
基金
黑龙江省教育厅2010年人文社会科学项目<中国现代诗学论争中的象征主义>(11552180)
