改革开放之后,“文化热”和“国学热”先后兴起,就在“国学热”接近消歇之前,一种新的文化实践兴起,即新吟诵。然而无论是民国时期的吟诵学,还是上世纪八九十年代的吟诵抢救,以及现在的新吟诵都不是单一的文学性文化现象,而是面对现代文化的一种自立的持续努力。可以说吟诵问题是整个传统文化在面临现代性或现代西方政治、文化时的艰难处境的一小部分。重新认识或说重新意识到这一处境的艰难是寻找出路的认知前提,这一认知就是对传统断裂和大众文化的反思。传统的断裂是在新时期人们寻求传统的根本原因,而大众文化的兴起则是最表面的但并非不重要的原因。从这两个点出发,也许能够管窥某种文化问题的真相之一般。 After the reform and opening up, “cultural hot” and “national hot” have arisen one after another, just before the “national hot” near the re-establishment of a new cultural practice, namely the new recitation. However, neither the recitation in the Republic of China nor the recitation of the recitals in the 1980s and 1990s, nor the new recitation now is a single literary cultural phenomenon, but a self-sustaining continuous effort in the face of modern culture . It can be said that chanting is a small part of the difficult situation of the entire traditional culture in the face of modernity or modern Western politics and culture. Re-understanding or re-awareness of the difficulties in this situation is to find a way out of the cognitive premise, this perception is the reflection of the traditional fracture and popular culture. The traditional rupture is the fundamental reason why people seek tradition in the new era, while the rise of mass culture is the most apparent but not insignificant cause. Starting from these two points, we may be able to grasp the truth of a cultural issue in general.