【作者】 王光利；

【导师】 江弱水；

【作者基本信息】 浙江大学 ， 美学， 2012， 博士

【摘要】 胡适承接晚清“诗界革命”与“崇白话而废古文”之余绪,与陈独秀等人一起掀起了五四新文化运动。胡适的白话语言观、文学改良观、诗体解放观等诸多诗学观点,及其《尝试集》的创作实践,对中国现代文学的影响巨大,可以说,中国自上世纪初以来整个文学的发展都是以胡适倡导的白话文学运动为基础的。然而,在认识到胡适诗学理论对中国现代文学巨大推动作用的同时,我们也必须正视其负面影响。在上世纪三四十年代,废名、朱光潜等人即对胡适“诗体解放”“不用典”等观点提出了质疑与反驳,认为诗歌的过度散文化导致诗意的丧失,都是胡适诗学理论的负面效果。本论文试图客观、全面地分析胡适诗学内涵,用中西现代文论对胡适诗学中反现代甚至反诗的特征进行剖析与批判。论文分以下几个部分。导论首先阐释研究本课题的缘由、目的与意义,再梳理先期研究成果及基本材料,设定基本研究方法,介绍内容概要和创新之处。正文分四章进行论述。第一章,着重分析梳理胡适诗学的历史与文化背景,后者分为五个方面：传统文化、进化论、实用主义的哲学方法、现实主义文学思潮、自由主义思想。第二章,首先分析梳理中国文化本位主义的“学衡”派对胡适一系列观点进行的反思。其次,以废名、顾随、俞平伯为个案,分析他们基于中国传统诗学对胡适诗学进行的反思。再次,以朱光潜、梁宗岱、李健吾为个案,分析他们基于西方现代诗学对胡适诗学的反思。第三章,用中西现代文论针对胡适一系列具体的诗学观点,如白话语言观、诗体解放论、《文学改良刍议》中的八大主张(须言之有物；不摹仿古人；须讲文法；不作无病之呻吟；务去烂调套语；不用典；不讲对仗；不避俗语俗字)等进行分析,对胡适诗学进行再批判。第四章,结语,归纳总结胡适诗学反现代性甚至反诗性的美学特质。更多还原

【Abstract】 It was when the late Qing Dynasty’s "Poetic Revolution" and the movement of "Upholding the Vernacular and Opposing Classical Literary Style" in prose writing had almost come to an end that Hu Shi, holding the banner of Cultural Revolution high and together with Chen Duxiu and a few others, started the May Fourth New Cultural Movement. Hu Shi’s view of vernacular, his poetic theories and practices such as literary evolution, emancipating poetry, and so on and so forth have influenced Chinese modern literature much greatly. It may be true to say that the entire development of the Chinese literature since the beginning of the last century has all been based on the vernacular movement advocated by Hu Shi. However, while it is necessary to affirm the great impetus of Hu Shi’s poetics to modern Chinese culture, we must also acknowledge the negative effects of it. In the two decades of the thirties and forties of the last century, both Fei Ming and Zhu Guangqian had questioned and refuted Hu Shi’s theories of freeing from poetic conventions and using no allusions, suggesting that the later trend of over prose-likeness or prosaicness of poetry that led the loss of the poeticalness has all been the result of the negative effects of Hu Shi’s poetics. This dissertation attempts to provide an analytical criticism, based on an objective, comprehensive and systematic analysis of Hu Shi’s poetics, while affirming its positive function, of its anti-modernity, anti-poetical ness by applying both Chinese and western literary theories.The dissertation will set off its discussion mainly in parts as follows. It begins with an introduction, which gives reasons, identifies the purposes and significance of the work, puts in order the preliminary studies and the raw materials, sets the study method and synopsizes the main points of the paper and its innovative points.Apart from the introduction, this dissertation consists of four chapters.Chapter one will mainly examin the historical background of Hu Shi’ s poetics, pointing out that it was the "poetic revolution" put forth by Huang Zunxian and others and the view of "Upholding the Vernacular and Opposing Classical Literary Style" in prose writing by Qiu Tingliang and others that served as the basis of Hu Shi’s poetics. From historical background to Hu Shi’s personal influences, I identify five, namely, the cultural and poetic influences of the Chinese traditional culture, the theory of evolution, the philosophical method of experimentalism, the literary trend of realism and the thought of liberalism.Chapter two will concern a debate between Hu Shi’s new poetics at its drafting stage and the school of XueHeng, a sect of Chinese cultural selfish departmentalists, trying to give systematic reflections on Hu Shi’s series of views from the perspective of cultural conservatism. Besides, I also give reflections on Hu Shi’s poetic theories by subjecting them to the traditional Chinese poetics as represented by such scholars as Fei Ming, Gu Sui and Yu Pingbo. Further on in this chapter, I shall consider Hu’s theories as examined from the perspective of Western poetics by Zhu Guangqian, Liang Zongdai and Li Jianwu as representatives of studies of this approach.Chapter three will mainly be a critique of Hu’s vernacular view from the angle of comparative studies in both Chinese and western languages and also from the general trend of linguistic development. Then I will come to a criticism of Hu’s "great poetic emancipation" plan. Further on, also based on modern poetics, I shall provide an analysis of Hu’s eight claims as explained in A Tentative Discussion of Lierary Evolution (《文学改良刍议》) (namely, the eight views of using speech or writing to mean substance; of not imitating the ancients; of being grammatical; of no groaning without a disease; of getting rid of cliches; of not using allusions; of not having antithesis as purpose; of not avoiding colloquialism as a principle). I propose that in a certain sense, these view all go against modernity and are counter-poetics. Chapter four, as a conclusion, will give an aesthetic analysis of Hu’s theories and point out the nature of anti-modernity and anti-poeticalness in his poetics.更多还原