【作者】 李海英；

【导师】 耿占春；

【作者基本信息】 河南大学 ， 中国现当代文学， 2013， 博士

【摘要】 本文以抒情精神作为新诗研究的基点，首要目的在于考察其在传统诗歌的变革中经历了怎样的曲折进程，受到哪些因素的促动或限制。着力探讨“抒情”这一中国文学的道统在现代文学的发展进程中所居的位置、传续的力量、发生的流变等相关问题，理解中国新诗所出现的诸种样态与现象之根由。而把目标收缩在一个具体的地域，以河南新诗作为分析的文本依据，目的是为了更好地研究在现代情境世界的书写中，个人是如何利用传统经验安顿自身的处境、通过语言去表征越来越复杂或陌生的情感体验、处理时代、诗人、诗歌之间的复杂关系等诸多问题，进而在了解他们所经历的偃蹇困顿或成功转化中，开启对现代诗歌（乃至现代文学）内在机制的重新思考。基于此，本论文针对河南新诗发展过程中呈现的乡土性、现代性、意识形态化和反常性，考察其是如何在诗歌抒情性这一主轴下展开的，抒情样态发生了如何曲折的变异，不同的河南诗人在诗性正义与革命话语的要求下所作出了怎样的选择以及由此而形成了什么样的诗歌面貌或生态状况，并将对种种现象进行描述。同时在梳理河南诗歌的社会文化背景、地理学背景、诗学背景、个人追求等因素时，查看抒情传统是如何对河南新诗产生影响或作用的，理解其间的得失、优长或不足。进而通过讨论河南新诗对地方经验的转化与表达的方式，探究其作为一个地域之内的文学形式是如何艺术地记录了该地的精神风貌、文化性格、生命状态和风俗习惯的，以及它对当时当地社会生活的影响。研究表明，河南诗歌抒情性真正是扎根河南的地方性与现代性之中一条悠久不灭的红线。之后分别以徐玉诺、于赓虞、苏金伞、痖弦等四位河南诗人的诗歌创作为案例，讨论现代抒情精神的生成及变化：徐玉诺在儒家诗学观的承继中深切地关怀着现世，首先他把现代主义之诗性追求与现实主义之深切关注融合起来，以爱与美、血与泪、孤独与梦想作为创作主体，并从地方性出发，开创了匪患题材，提供了一个独具特色而真实的文本世界。其次，在新诗文体的自觉探讨中，徐玉诺诗歌的语言与形式都达到了一定的高度，他将方言入诗，增强了新诗的地域性，为新诗语言发展注入了活力，并把自由体诗和韵诗结合起来，使自由体诗获得了形式上的完善。此外，徐玉诺是一个充满悖论的诗人，其诗作中有大量的无意识写作，语言充满了悖论与张力，他用现代主义的手法写现实主义的内容，用河南的地方性知识讨论时代情感结构的变化，由此而带来的独特的语象和语式使其早期的作品成为一个不能忽视的存在。徐玉诺的存在表明了抒情精神一词是深深地扎根在现实生活与社会的土壤里的。于赓虞是以“恶魔诗人”、“魔鬼诗人”名扬诗坛的，其诗歌本体上呈现出唯美主义、象征主义、现代主义混合的色彩，诗中充满了本体论意义上的不谐和音、专制性幻想、独白式的迷狂等现代诗歌的诸般样态。但其对诗歌及诗学的探索却在中国现代诗歌发展进程中处于尴尬的位置，于赓虞远未得到与他创作实绩相符的认可。此现象将引发我们对诗人、时代、文学场之间关系的进一步思考。此外，于赓虞的存在揭示了诗歌抒情精神仍是一种现代人的主观意志与深在的潜意识心理的表白，也是河南新诗中一种真正的审美抒情的现代性代表。苏金伞以现代乡土诗人著称，他以质朴的乡土语言挖掘原生态的生活中具有文化价值和审美价值的地方性知识，真实地记录了当时乡村的一种生活样态之诗意存在。但革命话语加入叙述模式后，乡土抒情开始被逐渐异化，并呈现出同质化的倾向，其诗歌并未达到现代乡土抒情的极高层面。这也是河南现代诗人普遍存在的问题：诗歌追随时代革命的步伐，仅满足于展示现实生活的表象，而没有深入到审美文化的人性深度开掘现实生存之本相。直到痖弦的出现，河南籍诗人乡土抒情的现代性才算真正实现。痖弦在一种严厉的政治气氛中，把乡土语言、乡土记忆和现代主义或超现实主义的技法融合在一起时，创造出了一些“圆美流转如弹丸”的现代乡土抒情诗。他的成功在于对中国传统文化的历史意义阐幽抉微之探寻中，以反思型的姿态面对故土与家园、时代与人性、个人的记忆和集体的记忆之间的关系，把传统文化、地方性知识、方言民谣和现代意识凝聚在一起，从中提炼出一种现代抒情精神。以河南新诗为窗口，总览河南现代诗人在抒情传统的承继、现代性历史语境的挑战、革命话语的干预、离散文化的冲击中，曾遭遇过的曲折和异化，为的是展看传统抒情精神在现代性的冲击下，河南新诗取得了怎样的进展及局限所在，其最终目的乃是在于思考河南诗人的创作实践为中国现代诗歌注入了哪些新的诗歌元素。而这一过程让我们看到，河南诗歌在何种维度补充发展了中国现代诗歌历史的新成就，并成为中国现代文学不可或缺的一个部分。更多还原

【Abstract】 In this paper, using the lyrical spirit as the basic point of the study, the primary purpose is to examinemodern poetry which it had expressed complicated process, the actuation or limit. To ponder the root causeof the various state and phenomenon of the Chinese modern poetry, by analyzing the position, forcespassed, changes of the Chinese lyrical tradition that it was in the process of the development of modernliterature. Selecting a specific region, to use He-nan modern poetry as research material, precisely in orderto learn the following cases: individuals how to use the traditional experience to settle their own situation,how to use vernacular language to convey the more and more complex or unfamiliar emotional experience,how to deal with the complex relationship of times, poet, and poetry, etc. And thus to learn the hardship orsuccess which they had experienced, rethink the mechanism of modern poetry within the (even modernliterary) the mechanism.So, the paper would describe that He-nan modern poetry was under the lyrical-spindle, how to presentthe locality, modernity, ideology and abnormalities of the art, as well as which tortuous variation had beenmade by the patterns of Lyrics. Then to describe the various state and ecological status which the differentHe-nan’s poets had made by different choices under the requirements of poetic justice and revolutionarydiscourse. Then to view the gains, losses, advantages and disadvantages by learning its backgrounds ofsocial and cultural, geography, poetic, personal personal, and so on. Thirdly, to view it as a regional literaryhow to record the mental style, cultural character, life status, customs，and the impact of the social life, bydiscussing the method of expressing and transforming of the local experience. It showed that Henan poeticlyricism really was rooted in Henan local and modernity, as a red long-standing line.Followed by, it would be probe the generation and diversification of lyrical spirit from He-nan poetsXu-Yunuo, Yu-Gengyu, Su-Jinsan, and Yuxian. The unique of Xu-Yunuo’s poems was:firstly, succeedingConfucian Poetics Concept of realistic concern, he integrated the deep concern of the realism and poeticpursuit of modernist, the love and beauty, blood and tears, loneliness and dreams were all his theme, as wellas he created the banditry theme from the locality, provided an unique and authentic text world. Secondly,his language and form all reached a certain height. He used the dialect, increased the local, injected vitality for the poetry’s language, combined free verse and rhyme. In addition, Xu-Yunuo was a paradox poet.There was a lot of unconscious writing in his poems, and fulled of the language of paradox and tension.With the modernist approach to write the realism, with He-nan local knowledge to discussed thefeeling-structure’s change, and the resulting that made his early works to a noticeable existence. Thepresence of Xu-Yunuo, to show that the term of ’lyrical spirit’ was deeply rooted in the soil of real life andsociety.Yu-Gengyu was known by the ’devil poet’, his poems was showing the mixed color of aestheticism,symbolism and modernism, and fulling of the dissonance, autocratic sexual fantasies, monologue ofobsession of all sorts of modern poetry’ phenomena. But he was in an awkward position in the history ofmodern Chinese modern poetry, he was far from being consistent with the recognition of his creativeperformance. The fact would lead us to think about the poet, era,and literary field deeply. Yu-Gengyu’sexistence revealed that the lyrical-spirit of the poetry still was a subjective will of neoteric and anunconscious psychological, as well as a real aesthetic-lyrical of the modern representation for Henan’smodern poetry.Su-Jinsan was known by modern local poet known. He used the most rustic dialect to excavate thecultural value and aesthetic value of local knowledge from the most original ecological life, recorded thepoetic presence of a life-like state of the village. But when the the revolutionary discourse joining narrativemode, the lyric gradually alienated and showed a tendency to homogenization, so his modern-local poetrydid not reach a very high level. This was also the problem of modern poets widespread in He-nan: thepoems followed the pace of the revolution of the times, or only to meet the appearance of the show in reallife, rather than to dig into the truth of the survival reality and penetrate aesthetic culture deeply.Lyric modernity of He-nan’s poems finally realized truly until the emergence of the Ya-xian. In a harshpolitical atmosphere，Ya-xian made the local languages, memory and modernism or surrealism techniquestogether to create a kind of modern lyric poetry as beauty as projectile. His success lied that he faced therelations between homeland and home, the era and human nature, personal memory and collective memoryin the reflection-type attitude, to cohesion the traditional culture, local knowledge, dialects, folkand modern consciousness and extract a contemporary lyrical spirit, during the exploration of thehistorical significance of the traditional Chinese culture. To the He-nan’s modern poetry as window, derailing scrutiny He-nan modern poet how to inherit thelyrical tradition, how to response the intervention of the revolutionary discourse, and how to bear theimpact and alienation of the Diaspora, the aim was to keep a lookout that lyrical spirit had been metshocks and changes during the modern period, and thus thinking the limitations and development space ofthe contemporary He-nan poetry, as well as which questions worth considering for the modern Chinesepoetry it has provided. Let us see which new achievements the Henan poetry added in the development ofmodern Chinese poetry history, and in what kind of dimensions it was an indispensable part of modernChinese literature.更多还原