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既有的闻一多研究,大多只根据其意象使用而指认其“象征主义”、颓废风格。本文从这一误判入手,将分析重点从意象本身转向抒情主体及其与物象的连结方式,通过着重分析闻一多诗歌中抒情主体的姿态以及诗语结构,并对比他所效仿过的“意象派”诗歌,发现其中意涵指涉的冗余与对象化的缺失。上述特征使得闻一多诗歌朝向观念化偏移,未能给物的静默留下足够的空间,而“观念化”也恰为百年新文学一个显见的症候。同时,在主体与物象关系的问题中,重物象而轻主体的思维模式,不仅在既有的闻一多研究中构成误判,也在新诗批评的一个关键词“及物性”的使用上造成了概念的误迁与变形。“现代”语境下对抒情主体的重审,亦有助于“及物性”概念的理清。
The existing Wen Yiduo study, most often only use its imagery to identify its “symbolism”, decadent style. Starting from this misjudgment, the thesis focuses on the analysis from the image itself to the main body of the lyric and its connection with the object. By focusing on the posture of the main body of the lyric in Wen Yiduo’s poetry and the poetic structure, Imagery “poetry, found that the meaning of which refers to the lack of redundancy and objectification. The above characteristics make Wen Yiduo’s poetry shift toward conceptualization and fail to give enough space for the silence of things, and ”conceptualization“ is also a clear symptom of the new literature in the past century. At the same time, in the relationship between subject and object, the thinking mode of heavy object and light subject not only constitutes a miscarriage of justice in the existing Wen Yiduo study, but also uses a key word ”and property “ in the criticism of modern poetry. Caused the concept of error and distortion. The reexamination of the main body of the lyric under the context of ”modern“ also helps to clarify the concept of ”property".