摘要
《女神》作为新诗历史起点的判断,虽然已是文学史的定论,但其狂放自由的诗风,却不一定能得到后来读者的认同。要在当下语境中认识《女神》的“起点”意义,除了回到五四时代的“现场”,进行历史的“同情”之外,也有必要重构更为宏阔的理论视野。1923年,闻一多从“二十世纪底时代的精神”的角度,对《女神》的全面阐发,提供了一个可以持续展开的框架。以“世纪”的眼光,重新审视新诗的起点,也会为理解百年新诗总体的文化政治意涵,打开新的思考空间。
Guo Moruo’s Goddess has been regarded in literary history as the starting point of Chinese new poetry.However,it had not been fully recognized by readers of later time for its wild style.In order to apprehend the pioneering significance of Goddess in the current context,it is necessary to situate Goddess in a larger theoretical vision in addition to returning to the historical context of the May Fourth Movement.In 1923,Wen Yiduo presented a comprehensive explication of Goddess in light of the twentieth-century Zeitgeist,which provided a framework that could sustain the rethinking of the starting-point of Chinese new poetry and the cultural-political implications of one-hundred-year Chinese new poetry as a whole.
出处
《中国文学批评》
CSSCI
2019年第2期4-12,157,共10页
Chinese Journal of Literary Criticism
基金
国家社科基金重大招标项目“中国新诗传播接受文献集成研究及数据库建设(1917—1949)”(16ZDA240)阶段性成果
