摘要
20世纪上半叶,"纯诗"观念与"纯诗化"写作步调并非一致,二者之间存在着矛盾与悖论,呈现出新诗现代性追求的复杂历程。初期象征派诗人大胆探索"纯诗"审美之路,但其实践创作与"纯诗"美学相背离;现代派诗人戴望舒在"纯诗化"写作中融入"非纯"因子,其具有悖论色彩的诗学探索,使中西诗歌文化在矛盾中获得统一;"九叶派"诗人穆旦以其对新诗口语化和散文化的独特理解与崭新创造,超越了现代"纯诗"传统,使"纯诗化"写作在回返中实现了新质跨越,"纯诗"审美与"纯诗化"写作之间走向统一。
The concept of pure poetry and pure poetry writings contradicted to each other in the first half of 20th century, showing the complicated experience of modem new poetry. At the early stage, symbolistic poets were boldly exploring pure poetry aesthetics, and their creative writings were deviating from pure poetry aesthetics. Modernistic poet Dai Wangshu adopted non-pure factors in his pure poetry writing and achieved perfect combination between Chinese and Western poetry culture by the contradictory poetry exploration. Mu Dan, a famous poet from Jiuye Poetry School, transcended modern pure poetry theory to compose poems colloquially and in prose style. His effort promoted a great development for pure poetry writing and bettered the combination between their theory and practices.
出处
《文学与文化》
2017年第4期74-83,共10页
Literature and Culture Studies
基金
黑龙江省高校青年学术骨干支持计划研究成果(项目编号:1253G043)
关键词
20世纪上半叶
“纯诗”美学
“纯诗化”写作
新诗现代性
First Half Of 20th Century
Pure Poetry Aesthetics
Pure Poetry Writings
Modernity of NewPoems
