摘要
废除用典是中国新诗诞生时的一个明确目标。但是用典这一现象并没消除,且在本土典故中民族神话、传说一反历史成了最主要的力量。不过,这种用典不再是传统诗学精神的翻版,而恰是"先锋精神"的体现。这主要表现在:第一,于内在气韵上反俗;第二,在话语方式上陌生化;第三,与西方现代诗学高度融合。通过古今诗学的对比,不难发现新诗用典不是建立在传统的历史意识基础之上,在"先锋精神"的武装之下,这一事实极具存在的合法和价值的自足,这对我们认知和推动新诗的民族性建构大有助益。
The abolition of allusion was a definite objective of New Poetry of China when it was born. Yet,the phenomenon of allusion by no means disappears, which can be illustrated in the fact that national myths and legend stories has become a prominent presence in New Poetry. Nevertheless, the use of allusion in New Poetry is not the repetition of the spirit of traditional poetry but the reflection of the spirit of avant-garde. This spirit of avant-garde finds its expression in three aspects： anti-convention in inner spirit; defamiliarization in discourse; the parallel to the modernist poetics of the West. Through the comparison of new and old Chinese poetics, we can see that allusion in New Poetry is not built on traditional historical consciousness but on avant-garde. Therefore, the allusion in New Poetry has its full value and ample justification for existence and it will contribute a lot to understanding and promoting the national construction of the New Poetry.
出处
《湖南大学学报（社会科学版）》
CSSCI
北大核心
2013年第2期89-93,共5页
Journal of Hunan University(Social Sciences)
基金
湖南省哲学社会科学基金项目"民族神话
传说对中国新诗民族性的影响研究"(2010YB244)
关键词
民族神话
传说意象
中国新诗
用典
national myths
legendary images
new poetry of China
allusion
