节点文献
象征主义与中国现代诗歌
【作者】 齐磊；
【作者基本信息】 山东大学 ， 比较文学与世界文学， 2007， 博士
【摘要】 象征主义作为一个曾经风靡欧美的文学流派，对中国现代诗歌有着巨大的作用与影响。西方象征主义与中国诗歌意境的亲合性，开拓并丰富了中国现代诗歌的艺术视野与艺术表现形式。象征主义在中国的被引入、影响及嬗变，绝不是偶然的，是纷繁多样而又错综复杂的中西文学思潮相互碰撞与整合的结果。本文由绪论、象征主义及其诗学主张、象征主义在中国的接受、象征主义与中国现代诗歌创作、在象征主义影响下的中国现代诗人个案研究、结语六部分构成。绪论评述了象征主义与中国现代诗歌论题的由来，界定了研究对象；介绍了象征主义与中国现代诗歌的研究现状与意义，清理了国内外关涉本论题的研究情况，评述了相关论著，明确了本文研究意义，介绍了本文研究的对象、内容、方法及创新点。象征主义及其诗学主张一章研究了象征主义的定义，象征主义文学运动，象征主义的诗学体系及对原有诗歌观念的影响，象征主义诗歌发展的线索和文学批评界关于象征主义研究所作的综述和评论。象征主义在中国的接受一章研究了在中国现代诗歌几十年的历史进程中，象征主义的传播线索。这一条线索，把握了两点基本特征。其一，象征主义的引入是一种综合性的渗透，从社会文化思潮着眼，象征主义是与世纪末的颓废主义和神秘主义一起传入的，从诗学角度上看，是象征诗艺在思维方式和审美感受层面对中国作家的具体的影响。其二，在传播方式上，对象征主义的介绍是共时性与历时性的结合。在第一阶段(1920—1927)以共时性倾向为主，各种象征主义倾向和象征派作家几乎同时涌入中国文坛，在第二(1928—1937)和第三个阶段(1938—1949)，则在共时基础上又体现为历时特征，表现为与西方后期象征主义进行中的历史过程的一种同步关系。象征主义与中国现代诗歌创作一章研究了象征主义对中国现代诗歌的影响以及象征主义的深层意蕴在中国现代诗歌中的体现。象征主义对中国现代诗歌的影响我认为首先是文学主题的交鸣与内在情绪的共振。相比起来，那种唯美的纯诗倾向的影响是第二位的。而西方现代主义思潮从20年代大量引入至40年代持续发生影响的一个重要原因，则是现代主义思潮所共同表现的那种现代人的孤独苦闷心理情绪，与对社会、人生的失望而归向内心的倾向所致。在这种深沉的思考与心理体验中体现出的是对现实的深刻的理性批判，对人类自我的冷峻反省。象征主义对中国现代诗歌的影响，还突出地反映在形式本体方面，它给中国新诗带来了更加具有现代特征的审美观念的本质变化。总体而言，这种影响以纯诗追求为价值目标，分别从诗歌的象征性、音乐美、神秘美、全官感效果、语言纯化、客观化、智性化等各个层面表现出来。中国现代诗人对西方象征主义诗歌艺术本体特征的关注与借鉴，比起接受西方象征主义诗歌的思想观念来，要自觉得多，成绩也大得多。其主要原因在于：首先，西方象征主义诗歌注重意象、讲究含蓄的某些特征与形式观念存在着与中国古代诗歌的较多暗合之处，具有中西诗艺的沟通与融汇的可能性。其二，西方象征主义诗歌的纯诗化倾向，给新旧交替时期处于失范状态，函待寻求发展的中国新诗提供了可资借鉴的现代模式。其三，它对古典主义的摹仿写实倾向与浪漫主义抒情的直露倾向的反拨，正适应了二三十年代中国新诗竞争发展的潮流，给在现实主义、浪漫主义之外的新诗，提供了新开一路的重要启示。其四，它是一种更接近于表现现代生活、现代人情绪的艺术，也是西方现代主义诗潮中最有影响力与生命力的艺术。中国现代诗人接受西方象征主义诗歌思想观念，是作了某些具有本质属性的剥离或过滤处理的，这种影响常常显现出思想观念的类属性特征，而无本质上的同一性。而它对中国现代诗歌形式本体方面的影响也不完全具有质的相同性，但比较起来，形式的影响方面，中国现代诗歌更接近于西方象征主义诗歌的某些本体特征。而在这种接近中自然有中国诗人自己的创化，而探究接受中的创化，正是本文研究的一个主要课题。象征主义对表象背后深层意蕴的探索，对超验本体域的追求以及对幻象世界的营造，使其在总体诗学特征上呈现为一种艺术表现的深度模式。这种深层次的艺术表现方式同样构成了中国现代作家的自觉追求。对意象性的关注，对文本梦境与幻象的执迷，反映了中国现代诗歌在艺术上趋于含蓄化和深蕴化的两个侧面。在象征主义影响下的中国现代诗人个案研究一章择取了几个具有里程碑性质的诗人，即李金发、戴望舒、卞之琳、冯至、穆旦，探讨了他们在探索象征主义诗艺过程中所代表的几个重要的方面。李金发是使象征主义诗歌真正在中国扎根的第一人，但他的尝试在艺术上有两方面的偏枯，一是过于晦涩，二是过于欧化，失却了民族性特征，不易被接受。戴望舒诗歌的内容上更多传统的因袭，少现代性开拓，形式上中西的沟通要做得有成绩一些，但旧的情感价值观念与某些传统审美情趣也严重地妨碍了他形式上的现代性开拓。卞之琳则是智性诗人的典范，他对“戏剧性处境”的追求使他的诗艺呈现出“思想知觉化”的特征。同样追求哲理的感悟与升华，冯至，在40年代则专注于物象的沉思，从而使他的《十四行集》代表了一个沉思的时代。《十四行集》出色地体现出意象为象征并在凝定的意象世界中冥思生命本体的特征。相对说来，穆旦或许是拥有着最为复杂的诗艺的诗人。他的诗中表现出超凡的营造自创性象征的能力，并在象征意象中灌注了同样强大的感性体验和形而上思索。同时，他创作中诗的意向则反映了中国现代诗歌在40年代力图宏观把握历史与人生的超越渴望。结语部分对全文进行总结，并试图引出一些更值得深入研究的课题。例如颓废主义的世纪末情绪，以及波德莱尔为代表的“恶魔主义”和审丑的美学观，从“恶魔主义”衍生的对神魔统一的人性的探索，象征主义大师笔下所体现的对现代文明严峻的审视和批判意识，从波德莱尔、瓦雷里、叶芝到里尔克、艾略特直至奥登等作家对宗教和神话的关注以及在中国现代文学中的体现，还有象征主义超验本体论为中国现代作家所带来的超越意识以及对生命和存在本体的探索……都是令人执迷的课题。这些课题大都关系涉及着现代文学研究的重要领域，从这个意义上说，象征主义与中国现代诗歌这一课题，只是中国现代文学研究一个领域的开始。
【Abstract】 Symbolism, as a literary school, once swept over Europe and America and exerted a great influence on modern Chinese poetry. The affinity in artistic conception between the Western symbolism and Chinese poetry opens up and enriches the artistic horizon and artistic forms of expression of Chinese poetry. The introduction, influence and transmutation of symbolism in China is by no means accidental but the outcome of the literary collision and integration between the West and the East.This dissertation consists of five chapters: the chapter of preface, the chapter of symbolism and its poetics proposition, the chapter of symbolism in China, the chapter of symbolism and modern Chinese poets’ cultivating, the chapter of modern Chinese poets case study in symbolism’s influence, and the part of epilogue.The preface chapter has one major section, which introduces this paper’s topic, significance, contents, methods, and innovative points.The chapter of symbolism and its poetics proposition studies the definition of symbolism, the symbolism literary movement, the symbolism’s poetics system and its influence on modern Chinese poetry idea, the evolution clue of symbolism poetry, and the literary criticism circles’ statement about symbolism.The chapter of symbolism in China studies the spread clue of symbolism in China for several decades. Studying the clue, we should grasp two basic characters. From society culture trend, symbolism comes to china with decadence and mysticism; from poetics point of view, the influence on modern Chinese poets is symbolism’s taste and thinking mode. It’s the first character. The second character is the symbolism’s spread mode in China which is the combination of the same period of time and last a period of time. In the first phrase （1920-1927）, almost all kinds of western symbolism trends and authors swarmed into China at the same time. In the second （1928-1937） and third phrase （1938-1949）, the symbolism’s spread mode in china represent the state of the same period of time and last a period of time’s combination.The chapter of symbolism and modern Chinese poets’ cultivating studies the symbolism’s influence on modern Chinese poetry firstly the echoing of the literature theme and the resonance of the inner emotion. It shows the inner feelings and thinking of the disappointment to the society and human life. In such psychological feeling and thinking, rational criticism to reality and deep self-question is felt. Secondly it appears in the pursuit of pure poesy aiming at values, representing the noumenal meaning of the form of poesy by the beauty of symbolism, music, and languages. In the progress of accepting, Chinese poets have their own creativity. Studying the creativity is the most important task of the dissertation. The exploring symbolism deep connotation of modern Chinese poets reflected modern Chinese poetry treading to implicative and abstruse by pay attention to image, dreamland and idol.The chapter of modern Chinese poets case study in symbolism’s influence selected several poets to discuss some important sides they represented in seeking symbolism poetry art progress. Li Jin-fa is the pioneer of Chinese Symbolism, his poems have two defects, one is too obscurity, the other is losing traditional character. Dai Wang-shu is deeply-rooted in Chinese traditional culture and national psychology deposition , he consciously sought to blend Chinese and Western culture in poetic creation and formed his unique style of symbolism in his poems in the process of his choice of symbolism . His defects is short of modernity deploitation. Bian Zhi-lin is a wit poet. Seeking to "theatrically place" made his poetry art present a kind of "thinking sentience" character. Fen Zhi devoted his mind to meditate in substances in the 40th age which marked his "sonnet" representing a contemplative times. Comparatively, Mu Dan may be the most complicated poet. His poems represent a sort of transcendental symbol creation. Moreover, he pushes his sensibility experience and metaphysical thinking into symbol imagoes strongly. At the same time, his creation reflects the desire that modern Chinese poetry should transcend history and life.The part of epilogue summarizes the dissertation, and attempt to educe more valuable studying problems. For example, the decadence of the end of century emotion; Baudelaire’s "Satanism" and ugly taste aesthetics view; the exploring human uniform of divinity and monster deriving from "Satanism"; the symbolism master’s austere san and rational criticism for modern civilization; the religion and mythos in the composing of Baudelaire, Valery, Yeats, Rilke, Eliot and Auden; the religion and mythos in modern China literature; the modern Chinese composer’s transcendent consciousness and their exploring for existence noumenon. All of them are fascinating problems. And those deal with many important contemporary literature fields. From the meaning of that, the dissertation of symbolism and modern China poetry is just a beginning of studying China contemporary literature.