【作者】 易彬；

【导师】 吴俊；

【作者基本信息】 华东师范大学 ， 中国现当代文学， 2007， 博士

【摘要】 全文分三个部分。第一部分首先讨论了穆旦的社会身份。对1940年代的穆旦而言，小职员的身份大于文化人的身份，这表明他处于社会文化网络的边缘位置。这一位置使得穆旦获得了一种自觉的写作立场。随后，文章非常详细地讨论穆旦的写作行为。本文将穆旦的写作行为视作一个整体性的概念：不仅仅包括诗歌主题与抒情方式，也包括翻译、其他文字的写作以及对于写作的修改。对于诗歌写作的分析表明，穆旦非常看重个人的经验，对于个人与时代的命题更是多有思考。他主张以一种积极的姿态投入时代之中，同时，又始终注意与时代保持适当的距离——保持个人的独立品质，这使得他的诗歌始终具备一种独特的抒情气质。其他几种写作行为，与诗歌写作也具有内在的关联，特别是翻译，因为怀有复兴中国文艺的目标，也表明了穆旦对于中国新诗发展进程积极的、自觉的体认。总之，这些写作行为，彼此互相揭示，互为存在。在这样的基础之上，本文进而了提出穆旦“诗歌艺术精神”的概念。这既肯定了穆旦写作的个人性、时代性与艺术性，更强调了穆旦的自觉意识，以及写作本身所特有的、持续不断的艺术品质。它不仅仅指向穆旦本人，也将指向整个20世纪中国文学。第二部分考察穆旦与中国新诗的历史建构。论文注意从细节切入，在西方诗学资源与中国新诗这一命题上，论文分析了穆旦和西南联大诗人群所接受的大学教育，指出古典的品质对于他们的写作产生了非常重要的影响。在古典诗学资源与中国新诗这一命题上，论文认为穆旦那代人当年规避传统是因为一种特定的历史意识，是一种有意为之的姿态。传统影响到了他们的写作，但他们与传统的关系，更多地，是一种精神上的传承。在新文学传统这一命题上，通过对鲁迅与穆旦的对比分析，突出了一些隐秘的、细微的、个人化的因素。论文强调，只有突出这些因素，新文学传统才是一个富有精神活力的传统。在新诗语言上，文章分析了新诗的散文化与口语化特征，指明了冯至、穆旦、昌耀等等诗人在处理语言上的独特经验。本部分还以艾青和穆旦为中心讨论新诗的“土地”主题。可以说，正是因为葆有一种独特的艺术精神，穆旦的写作能够有效地激发起新诗史上的这样几个最为重要命题——有效地参与到了新诗的历史建构之中。而通过这样的比照，穆旦诗歌艺术精神的命题也进一步得到了强化。第三部分详细考察了1940年代以来穆旦传播的图景。设置这一部分的目的在于强调穆旦的“历史效应”。所涉及的问题包括：1940年代穆旦批评空间的生成，1950年代的穆旦形象以及新时期以来穆旦形象的变迁。本部分大量运用了期刊报纸、相关出版行为、文学史、文学选本、各类校史、年谱、回忆录等等材料，考察了各种显性的与隐性的时代因素，非常清晰地呈现了一个不断变迁的穆旦形象。这样的梳理与辨析所呈现出来的，并不仅仅是穆旦历史形象的衍变，更是文学史观念与原则本身的衍变。因此，也可以说，这是考量穆旦诗歌艺术精神之于新诗的历史建构的另一条路径。更多还原

【Abstract】 This dissertation has three chapters. Mudan’s social identity is discussed in general in Chapter 1. In the 1940s, Mudan, who was a clerk on low pay, more than a cultural figure, was located at the edge of cultural networks. This situation made a conscious writing standpoint of Mudan. His art of writing which is a holistic concept was discussed in detail in the following part. It includes not only themes and lyricism, but also translation, other literary types and modifications. The analysis on Mudan’s poetry shows that he paid much attention to personal experience, and thought more about Individual and the Times. He advocated that one person should be devoted into the times with a positive attitude. At the same time, he always kept a proper distance from the times to maintain the personal independence, which enabled him to have a unique lyricism in his poetry. His writing of several other literary types, especially translation, is also intrinsically linked to poetry writing. Because the goal is to rejuvenate the Chinese art, Mudan shows a conscious recognition and a positive identification with the process of Chinese new poem. In short, the different types of writing have mutual revelation of each other’s existence.On this basis, my dissertation advances a new concept,the Artistic Spirit of Mudan’s Poetry. The concept not only affirms the individualism of Mudan’s writing, embodies the spirit of the times and shows his artistry, but also emphasizes his self-awareness, and the unique continuous artistic quality of his writing. Besides referring to Mudan, the concept refers to the entire Chinese literature of the 20^th century.Chapter 2 is a research on the relationship between Mudan and the historical construction of Chinese new poem. Starting with details, on the topic of poetry resources in the West and Chinese new poem, my article analyses the college education of Mudan and the school of poets from the National South West Associated University. Their writing had an important impact from classical poetry. As for the classical poetry resources and new poem, I think, because of a special historical sense, Mudan and the other poets’ evade tradition, which is a deliberate behaviour. Tradition influences upon their writing, but the relationship between them and the tradition is more like a moral inheritance. In the field of Chinese modern literary tradition, through the comparative analysis of Luxun and Mudan, my thesis highlights some secret, subtle and personal factors. My article emphasizes that only with these prominent factors, the tradition of Chinese modern literature is a rich tradition of spiritual vitality. As for the language of new poem, my article analyzes its characteristics of being like prose poems and colloquialism, and indicates the unique experience in dealing with language of Fengzhi, Mudan, Changyao etc. The theme about land by Aiqing and Mudan as a core will be discussed. Through the discussion about five themes, a few important topics in the history of Chinese new poem have been discriminated while the artistic spirit of Mudan has been further strengthened.Chapter 3 is an inspection of Mudan poetry’s communication in 1940s. The purpose to set up this chapter is to emphasize Mudan’s effects in the source of history. The issue involves topics such as: the creation of the criticism space about Mudan in the 1940s; Mudan’s image in the 1950sm, and the change of Mudan’s image since the 1980s. Extensive newspaper articles, journals, related publications, literary history, literary anthology, school history, chronology, reminiscences and other materials are used in this chapter. All kinds of dominant and recessive elements of the times are inspected. It shows a very clear and constantly changing image of Mudan. In fact, this analysis shows up not only the change of the historical image of Mudan, but also the change of the concept and principles of literary history. Therefore, this is another path to inspect artistic spirit of Mudan’s poetry and historical construction of Chinese new poem.更多还原