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文章从郭沫若关于诗歌本体的认知、思考出发,发现郭沫若在标举主情主义诗歌观的同时,无意识地打通了古今中西的诗歌壁垒,将中国传统的抒情思维和抒情方式转化到现代新诗。它们在与郭沫若所特有的海的情绪存在方式相结合时,呈现出三种倾向性鲜明的诗歌形态,即将海的情绪状态直接转化海的意象书写;用抽象语言的风暴去模拟海的情绪;用传统的抒情思维去承载海的情绪,并针对各个形态所取得的接受效果提出了自己的见解。
From the cognition and consideration of Guo Moruo’s poetry ontology, the article finds that Guo Moruo unconsciously broke through the barrier of poetry between ancient and modern China and the West while translating the traditional lyric thought and lyricism into modern new poetry. When they are combined with Guo Mo-ruo’s sea existence, they show three distinct forms of poetry, that is, the image writing of the sea’s emotional state directly into the sea; the simulation of the sea emotion by the storm of abstract language; Using the traditional lyrical thinking to carry the sentiment of the sea and put forward my own opinions on the acceptability of each form.