【作者】 李章斌；

【导师】 丁帆；

【作者基本信息】 南京大学 ， 中国现当代文学， 2012， 博士

【摘要】 本文从诗学策略与历史的关联性的角度来研究“九叶”诗人四十年代(1937-1949)创作的特色,分析他们发展某些重要的艺术特征时的历史条件和历史意识。导论反思了过去对四十年代现代诗人的研究之基本路径,在此基础上提出本文的研究方法。借鉴和移用西方“现代主义”、“现代性”论述是过去主要的研究模式,这种模式看重西方诗人的“影响”,把西方“现代主义”诗学和“现代性”论述当作一种“求同”的目标。它的弊病有：对中国诗人之主体性以及其创作语境的忽略,把“现代主义”概念外延无限扩大,片面强调“九叶”诗人的“现代性”等。针对过去研究中的“非历史化”的倾向,本文提出要把“九叶”诗人“放回历史”：一是把他们的创作放回到社会、个人历史中,观察他们在选择某些诗学策略时的历史意识和历史条件。二是把他们的作品放回到文学史中,从整体的角度来把握其特色和贡献。对“历史关联”的强调有利于破除“现代主义／现代性执迷”。第一章从历史的角度来看“九叶”群体的产生。它的形成受到了四十年代后期的文坛主流(“人民文学”)所施加的压力的推动。由于四十年代后期左翼作家阵营的不断扩大,“革命现实主义”和“文艺大众化”主张占据主导地位。“主流”开始把一切处于它之外的倾向都视为“异端”,力图对它们实行“打击”或“收编”。处于“主流”之外的“九叶”诗人因而聚集在一起以求保存自身。第二章考察“九叶”诗人在开创诗体方面的贡献。四十年代的历史危机和现实压力迫使诗人的个人世界向外部世界敞开,这推动了诗体的转型。辛笛的创作体现出三十年代抒情诗在现实压力下“蜕变”的历程。在现实压力的推动下,辛笛诗歌出现了一种“无法抒情的抒情”,导致了其道德意识、历史意识的觉醒,取得了意象组织、节奏安排等突破。四十年代后期,辛笛力图融入“群众”并诉诸“行动”,这种变形的道德意识瓦解了其创作动力。由于受到基督教思想的影响,穆旦在创作中颠覆了原来的“新的抒情”方案蕴涵的关于历史与现实、民族进步的一系列假设,也避免了一般的抗战诗歌的昂扬基调。杜运燮探索了一种反抒情、反感伤的“轻体诗”,以轻快笔调、讽刺口吻和微妙的隐喻处理严肃的题材。但是,“轻体诗”写作与历史语境产生了矛盾,杜运燮并未找到化解外部世界之“重”的方法,这限制了“轻体诗”艺术的发展。第三章考察了“九叶”诗人对“自我——世界”之紧张对立的表现,这是他们区别于三十年代诗人的重要特征。穆旦诗歌关于残缺自我与追求完整性的表现与柏拉图哲学和基督教有关。穆旦的“我”的现代性需要放到与现代历史的关联中才能得到深入的理解。陈敬容的诗作中出现了一种“陌生的我”与“陌生的世界”之间的对立,她着力表现城市生活的丑恶和异化,体现出敏锐的观察和语言创造意识。杭约赫的诗歌体现出自我与世界之对立的消解的过程。他在长诗《复活的土地》一度成功地展现出城市对人的异化和毁灭。但是他转向对宏观历史和“新世界”的表现时,乌托邦观念麻醉了他的感性,“我”与“世界”的对立消解了,诗歌艺术水准明显下降。第四章探讨了两种“时间”观念及其背后的历史意识。唐祈的长诗《时间与旗》反映了马克思主义的历史决定论。他期待着政治变局来解救屈辱、黑暗的历史,这种期待使得他忽略了对伦理态度的审思和艺术表现的研磨。穆旦则对决定论式的历史观持批判态度,他颠覆了这种历史意识背后的“时间原型”。“时间”／历史在他笔下不再是直线进步的,而是被“现在”牵引着下沉,个人无法把握时间和历史,历史被看作空前的灾难。穆旦对时间与历史的表现具有“见证历史”的意义。第五章讨论了“九叶”诗人的创造性隐喻。隐喻的特色与世界观有紧密关系。在历史文化危机的推动下,辛笛放弃了那种表现人与世界之和谐的隐喻意象,转而采用表现人与世界之间的紧张关系的创造性隐喻。穆旦的隐喻较强的张力与他感受到的历史压力有关,这种压力是严峻的历史环境与其个人的历史观念相互作用的结果。创造性隐喻在“九叶”诗歌中大量出现这一点具有里程碑式的意义,“九叶”诗人的隐喻展现了新诗在推动文学语言发展中的突出贡献。概言之,“九叶”诗人的突出成就更多地体现在他们如何让诗歌有效地应对历史的剧变和现实的压力之上,并恢复和更新语言与世界的紧密联系。道德与历史意识既是他们前进的动力,又往往是限制其进步的阻力。他们在诗歌语言和符号体系日趋模式化和僵化的时代主潮下,代表着一种“逆流而动”的倾向：他们通过激发语言的活力来更新对于存在的认识。更多还原

【Abstract】 This thesis focuses on the poetic strategies and their historical relevance of "Jiuye" poets in1937-1949, to find their historical condition and awareness when they develop some important poetic strategies.The Preamble reflects on the methods of recent researches on poetry of1940s, and then bring forward our own methods. The main mode of current research on this area is to refer to, and appeal to, the "Modernism" and "Modernity" discourse of western world. This mode overstates the "influence" of western poets on Chinese poets, and identifies itself with the aims of literary modernity and Modernism of western poets. Its disadvantages include:ignoring the subjectivity of Chinese poets and the historical context of their works; over-expanding the extension of the notion "Modernism"; overstating the modernity of "Jiuye" poets, etc. To redress the mistake of "de-historization" of current researches, we incline to put these poets "back into history" i.e., to read their works in the context of social and individual history; and to estimate their strategies in the context of literary tradition.Chapter One analyzes the formation of "Jiuye" poets from a historical angle. Its formation derives from the pressure of the dominant of literature in1940s, i.e.,"People’s Literature". The colony of Left-wing writers became bigger and bigger in the late1940s, and the claims of "Revolutionary Realism" and "Literary Popularization" domain the literary society of China. So the "Dominant" began to view every trend besides itself as "heterodoxy" and tried to beat or incorporate the later. So "Jiuye" poets, as "heterodoxy", got together to preserve themselves.Chapter Two discusses the new styles developed by "Jiuye" poets. The historical crisis and the pressure of real world make these poets’inner world open to the outsider world, which transforms their lyric styles. Xindi’s style reveals the "metamorphosis" of style driven by the pressure of outsider world. He develops a kind of "un-lyric lyric" and historical and moral awareness. In the late1940s, he tried to blend himself into "mass’and to appeal to "action", which dissolves the engine of his creation. Influenced by Christianity, Mudan overthrows the hypothesis about history and the national development of his "New Lyric" project. The belief in Christianity and the "Obsession with China" fight each other in his mind, which makes his poetry quite gloom and full of paradoxes. Du Yunxie develops a kind of light verse which is anti-lyric and anti-sentimental. He treats serious subject with light tone, ironic strain and delicate metaphor. However, the writing of light verse conflict with the historical circumstance; and he couldn’t find a way of dissolve the "weight" of outsider world, which limits the development of his light verse.Chapter Three discuss the tension between "self" and "world" in "Jiuye" poets’s works, which differentiate them from the works of poets in1930s. The portray of deformed self and his pursue for integrity in Mudan’s poetry derives from Plato and Christianity, But the modernity of this "self" should be understood in its relevance with modern Chinese history. There is an antinomy between "strange self" and "strange world" in Chen Jingrong’s poetry, which aims to reveal the frightfulness and alienation of urban life. Hang Yuehe’s Poetry materialize the dissolving of the tension between "self" and "world". When he tries to represent the grand history and "New World", the Utopian ideas anaesthetize his sensibility and reason, making his artistic understanding descend.Chapter Four discusses tow kinds of temporary notions in "Jiuye" poets’ works and the historical consciousness behind them. Tangshi’s poetry Time and banner reveals Marxist’s Historism. He expect a historical revolution which could rescue the humiliated and gloom history of China, while ignoring the consideration of moral attitude and artistic exploration. Mudan criticizes the historical notions of determinism and topples the temporary archetype behind them. Time in his poetry is not linearly progressive, but dragged down by the force of "Now". His representation of Time and history serves as kinds of "historical testimony".Chapter Five analyzes the creative metaphor of "Jiuye" poetry. The characteristics of metaphor are related the form of poets’Weltanschauung. Facing the historical crisis, Xindi gives up those metaphors which reveal the harmony of world, turning to some creative metaphor which reveals the tension between human and world. The tension of Mudan’s metaphor represents the historical pressure he confronts, which is a result of interaction between the severe circumstance and his his anti-historical thoughts. The tensional metaphors of Mudan reveal sufficiently the paradox of the real world. The emergence of creative metaphor in "Jiuye" poetry serves as a landmark in the development of modern Chinese poetry, and those metaphors renovate the contact between language and world, exhibiting the contribution of modern Chinese poetry to the linguistic advancement of modern Chinese literature.The contribution of "Jiuye" poets is manifested in how they reply to the change of history and the pressure of reality effectively, refreshing the connection between language and world. They defy the dominant literary tendency in which the language and icon becomes more and more rigidified, and they renew our understanding of being by exciting the vigor of language.更多还原