【作者】 朱彩梅；

【导师】 李森；

【作者基本信息】 云南大学 ， 文艺学， 2014， 博士

【摘要】 1976年以来的云南汉语新诗是以区域划分的一个诗歌群体,其成员在诗歌精神与探索意向上的多维实践,对汉语诗歌写作具有多方面的思想意义和诗学启示,但却一直没有得到诗学界应有的重视和充分的研究。本文力图通过历史还原、文本细读、诗学追问、文化访谈、人类学考察等方法,来厘清1976年以来云南汉语诗歌发展的进程,分析、阐释其艺术成就,使云南汉语诗歌从被遮蔽的状态中凸显出来。论文绪论部分包含选题意义、研究综述、研究思路及方法,正文分五章展开论述。第一章简要梳理1976年以来云南汉语新诗的发展进程。概述了20世纪80年代云南诗歌从“民族与边地”浪漫书写直接进入后现代写作,90年代形成与全国诗人对话的格局,21世纪初诗坛呈现出多元并存的态势变化。第二章论述全球化语境下云南汉语新诗的“本土性”特征及其写作意义。主要从云南地域文化中深入挖掘汉语新诗原生性、神秘性、包容性等元素生发的文化土壤,结合诗歌潮流、诗人群体及饶阶巴桑、哥布等具体诗人的文本特性,对始终贯穿于云南汉语新诗发展脉络中的“民族特色”与“地域特色”之诗意表达进行分析、评述。第三章紧扣诗歌的“当代性”,结合于坚提出的“拒绝隐喻——一种作为方法的诗歌”、李森的“形而中”、“纯粹写作”等诗学,对云南诗人所具有的“当代意识”,其对“当代生活”的诗性表达,以及探索当代话语方式的语言自觉,进行宏观与微观阐释。第四章综合“本土性”与“当代性”特征,着重分析四位重要诗人的诗学理念、写作特色及其对中国当代新诗写作的价值与意义：于坚通过拒绝隐喻来复活隐喻,在写作中寻回日常生活的神性,使汉语回到有活力的“雅”；海男对云南地方史的个体性书写,打开了抒情诗又一个新的维度；雷平阳基于故乡大地“云南”、“昭通”的现代经验书写,为当代汉语诗歌的地域写作提供了别样的方法与路径；李森在“语言的隐喻和对隐喻的消解”中打通“形而上”与“形而下”,寻求“在”与“思”同时映照的“形而中”之路,在汉语中触摸诗性的大地,打开了当代诗歌书写的一种新的可能性。第五章针对1976年以来云南汉语新诗中普遍存在的囿于地域、自发写作倾向及技艺锤炼不足的现象,从接通地气与超越地域、写作的自发与自觉、诗意与诗艺三个方面对此进行批判,进而指出诗人应充分认识到写作的难度,提高自我的语言意识,在持续性写作中锤炼技艺,激活现代汉语感受世界、表达人类普遍精神的能力。总之,1976年以来云南汉语新诗作为中国当代诗歌重要的一部分,于坚、海男、李森等诗人拒绝向单一的符号系统妥协,不断突破当代诗歌语言和想象方式的变革,拓展了诗歌语言和表现领域,其文本具有根植于云南大地、山川、河流与文化的异质性,推动了当代诗歌自由创造、多元并立的艺术创新局面的出现,给当代诗人提供了前行的经验和动力。他们以具体的创作实践及基于实践提出的诗学命题,充实、丰富着中国当代汉语诗歌的探索,对当代诗歌创作具有重要的诗学价值和启示意义。更多还原

【Abstract】 Chinese modern poetry in Yunnan Province is not a branch of modern poetry since1976, but one group of poetry divided by region whose members are carrying out multi-dimensional practices on the spirit of poetry and the exploring intention that bring various ideological significance and poetics contribution to Chinese poetry. Yu Jian, Hai Nan, Lei Pingyang, Li Sen and other poets refuse to use single symbol and make breakthroughs on language and imagination. They also expand the poetry’s language and its performing field whose poems are different from others because those poems are rooted in Yunnan’s land, mountains, river and culture. These poets promote a brand new situation to modern poetic creation and multi-dimensional art creativity and provide experience and power to contemporary poets.The dissertation contains five chapters except introduction and conclusion. Introduction includes literature review, selection significance, research design and methodology.The first chapter briefly sorts out the development of Chinese modern poetry in Yunnan since1976and summarizes the absence of Chinese modern poetry writing in Yunnan in1980s, while the poetry writing in Yunnan jumps from "nation and borderland" to post-modern writing. In1990s, Yunnan’s writing modes "folk custom" and "borderland feature" fade out in the poetic circles. Meanwhile, Yunnan poets join in the Chinese modern poetry who are not just the "borderland" talking to the "mainland" but a part facing to the whole country’s poets. At the beginning of21century, Yunnan’s poets explore deeply to different directions which presents a multiple trend.Chapter Two discusses the localization and meaning of writing of Chinese modern poetry in Yunnan in the perspective of globalization. And this discussion meanly expands from Yunnan’s local culture to the cultural background of Chinese modern poetry, which includes the elements of origin, mystery, comprehensiveness and so on. At the same time, the writer merges the poetic trends in different times,"Chinese poet group of Yi People","poet group of Xiao Liangshan", and the context features of Raojie Basang, Xiaoxue, Gebu and other poets to analyze and criticize the poetic expression of "ethnic feature" and "regional feature" throughout the developing process of Chinese modern poetry in Yunnan.Chapter Three focuses on the "Contemporariness" of poetry, combining the poetry studies of "Say no to metaphor:poetry as a methodology" presented by Yu Jian,"Lower than metaphysical" put forward by Li Sen,"Pure writing" and so on, explains separately about the "contemporary sense" of Yunnan poets, their poetic expression about "contemporary life" and their exploration of modern mode of discourse from macroscopic and microscopic view.Chapter Four, based on the localization and contemporariness pays much attention on four crucial poets’poetry idea, writing characteristics and their value and meaning to the Chinese modern poetry writing. Yu Jian resurrects metaphor by refusing it, brings back the divinity of ordinary life in the process of writing and turns Chinese back to the vivid "Elegance". Hai Nan’s expression of emotion about female has unique impacts on the modern society, especially her special writing about Yunnan’s local history, which opens a new door to lyric poetry. Lei Pingyang, based on his hometown Yunnan province and Zhaotong city, provides another way of contemporary Chinese poetry. Li Sen, as he presents in "the metaphor of language and its dispel of metaphor" bring the Formless and the Formal together to seek for "being" and "thinking" and reflect the new path of "Lower than metaphysical". He gets back to Chinese’s essence, touches the ground of poetry with his mother tongue and shows a new possibility of contemporary Chinese poetry.Chapter Five, aiming at the spontaneous and regional writing trend and the lack of professional skill, criticizes at three aspects as follows:localization&beyond regions, spontaneous writing&writing’s self-awareness and the meaning of poetry&the art of poetry. Moreover, this chapter points out that poets should fully realize the hardness of writing, then improve their language awareness, polish their skills in the procedure of non-stopping writing, activate the abilities of Chinese to feel the world and convey the common spirit of human beings.In a word, Yunnan Chinese poetry, as a vital part of Chinese modern poetry, shows the "ethnic feature""regional feature" and other local feature, as well as its expression of the contemporariness of modern society. Its representatives Yu Jian, Nan Hai, Lei Pingyang, Li Sen and other poets, using their practice and poetic concepts, enrich the exploration of Chinese modern poetry which means a lot to the contemporary poetry writing.更多还原