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“自我”的诗学观念是现代新诗的一个重要话题。郭沫若在《女神》中塑造的“自我”形象,为新诗的言说确立了话语据点。它一方面指向对旧制度、旧世界、旧我的否定,一方面又试图建立起一种全新的抒情原则,拓宽了“自我”的领域和新诗的话语空间,并通过诗歌美学的革命,体现了“自我解放”和“艺术创新”的强大动力,达到个人解放与社会革命的统一。从创造社到我们社的诗歌创作,典型地反映了新诗在追求“现代性”过程中陷入的“自我迷思”。这不仅仅是新诗自身美学范畴的难题,它更呈现了新诗在社会、历史、文化语境中的困境。
“Self ” poetic concept is an important topic of modern new poetry. Guo Moruo in the “goddess” in the shape of “self ” image, for the new poem speech established the speech stronghold. On the one hand, it points to the negation of the old system, the old world and the old one. On the other hand, it attempts to establish a brand-new principle of lyricism and broaden the field of “self ” and the space of discourse of new poetry. Through the revolution of poetry aesthetics , Which embodies the powerful motivation of “self-liberation ” and “artistic innovation ”, and achieves the unity of individual liberation and social revolution. The poetry creation from the creation society to our society typically reflects the “self-myth” that the new poetry finds itself in the pursuit of “modernity ”. This is not only a difficult problem in the aesthetics category of the new poem itself, but also presents the predicament of the new poem in the social, historical and cultural contexts.