摘要
现代汉语新诗自诞生起,就不再拥有古典诗所依靠的"原道"、"征圣"、"宗经"等形而上学基础,因而陷入了诗意"空白"的困境。在创建新的抒情主体,抒写新的世界的过程中,汉语新诗人创建了两类不同于古典诗歌的咏物形态:一类是在词语的建筑和发明中,寻找和经营"空白",它们在咏物诗中常以否定式或悖论式的修辞策略进行诗意言说,对词与物的关系作了各种尝试和探索;一类则努力将来自革命的、民族主义或政治乌托邦的意义和声音本体化,作为咏物的基础,形成了一套影响巨大的意象结构。
Since its birth, the modern Chinese poetry has no longer metaphysical basis just like Tao,which the classical poetry has relied on , and falls into a plight of poetic missing. In the process of creating a new lyrical subject, and describing the new world, the new Chinese poets create two types of chanting form that different from classical poetry. One is in the construction and invention of the words, to find and operate the ＂blank＂, in the chanting poems they often speak poeticly with negation or para- doxical rhetorical strategies , try hard to study the relationship between words and things; The other is that to work hard to turn the meanings and sounds that from the revolution, nationalism or political Utopia into body, as the basis of chanting , they form a set of stracture with enormous impact.
出处
《江汉学术》
2013年第3期41-48,共8页
JIANGHAN ACADEMIC
基金
浙江省博士后科研项目"汉语新诗的象征结构演变研究"(bsh1201040)
