抗战时期北京诗人研究

【作者】 陈芝国；

【导师】 王光明；

【作者基本信息】 首都师范大学 ， 中国现当代文学， 2008， 博士

【摘要】 抗战时期生活在北京沦陷区的诗人一直以来被新诗史冷落甚至遗忘,最近几年才逐渐引起少数研究者的注意。本文试图重返历史现场,对这一被遗忘的新诗图景进行一番比较全面而具体的考掘、描述和阐释。本文首先对抗战时期北京的文学语境进行了比较详细的剖析。尽管侵略者试图在新闻出版和文学组织方面加以控制和渗透,但抗战时期的北京作家与上海孤岛作家一样,也有着比较大的自由言说的空间,半殖民地的京派现代主义依然是北京文坛的主色调。然而,新诗在30年代中期的中兴并没有得到延续。在抗战时期的北京文坛,与其他文类相比,新诗一直都处于文坛的边缘地带,诗人的创作环境也明显恶化。在文学语境变更和新诗逐步边缘化情况下,北方“孤岛”的燕京大学和辅仁大学的师生成为了北京诗坛的主体力量。他们或从国语中寻索现代诗歌的节奏,或在象征主义诗歌观念的影响下努力探索寻找超越浪漫主义的途径,或塑造女性意识与民族情感的双重诗境。吴兴华既可以视为这个诗歌群体的成员,又表征着沦陷区诗歌在中国现代诗歌史上的地位。浪漫、唯美与象征交织于他早期的诗作中,其中既蕴涵着诗人对于都市的想象和对故乡的留恋,又延续和更新了新诗前驱们建构神秘美的诗法。他在过渡期从诗形与诗质两个相互关联的层面展开的对于新诗发展道路的反思,不仅指出了使诗歌从平凡无奇走向丰富深刻的必要条件,而且在古今对比中指出了新诗在诗形建构上的局限与不足,表现出诗人与传统认同的历史意识。他在现代诗歌格律方面成功而多样的探索,对于一直在寻求某种形式秩序的现代汉诗来说,则是一份不时需要回望和参照的宝贵遗产。吴兴华对里尔克的学习和借鉴使他后期的诗歌走出了本体反思中的困惑。这一部分诗歌,无论是哀歌体,还是“古事新咏”类诗歌,都以其“另类现代性”深化和拓展了中国新诗中的现代主义,将中国现代诗歌推向了另一个高峰。论文最后部分,以朱英诞和南星为例分析了“废名圈”诗人或者说后期京派诗群的诗歌观念与创作实践,以及表现为“原野的呼声”的写实派诗风。南星作为中国现代田园诗的开创者和奠基人,在中西诗歌观念的双重影响下,以其柔和温情的心性、敏锐的观察力和纯熟的语言技巧,不仅为新诗写作如何面对田园或者正在城市中消失的田园风景,提供了可资借鉴的想象方式,同时也极大地丰富了中国古已有之的田园诗传统;而朱英诞则以中国新诗里的古典作风为中国现代诗歌带来了古典与现代互动互涉的美学想象。写实派诗风在北京沦陷区诗坛呈现出批评界的大力倡导与创作量的急剧减少之间的错位。由于在极端的压抑中不得不借用现代派惯用的手法,许多以写实为目的的诗歌也反讽地呈现出现代主义的意味。更多还原

【Abstract】 This dissertation is a study of modern Chinese poets lived in Beijing under Japanese military occupation during the war of resistance against Japan. They always have been forgotten and welcome in the history of Chinese new poetry, though there were a few of researchers’attention to them in the last few years. The dissertation’s aim is to excavate, depict and interpret the outcast prospect of new poetry by re-entrying the historical scene.Firstly, the dissertation tries to present a detailed analysis of the literary context in Beijing under Japanese military occupation during the war of resistance against Japan. Though the invaders wanted to control Beijing’s news blackout, imprimatur and literary organization, there still were some free discourse space for the writers who lived in Beijing as well as those lived in Shanghai at the war period. The semicolonial modernism of Beijing school still played an important part in the literary world of Beijing. However, the poets in Beijing didn’t continue the resurgence of new poetry in 1930’s. Not only the poets were on the edge of the literary world, but also their writing conditions began to deteriorate.Yanjing University and Fu Jen Catholic University’s teachers and students were the principal part of Beijing’s poetry field under the literary surroundings. Some of them tried to find the modern poetry’s rhythm from Mandarin, some of them endeavored to beyond the romanticism style of new poetry under foreign symbolism, and some female poets worked hard to present feminine consciousness and nationalism. Wu Xinghua was both the most important member of this poetry circle and one of most important poets in modern China. His poems upgraded the status of this area’s poems in the history of modern Chinese poetry. His forepart poems were an intertexture of romanticism, aestheticism and symbolism. These works contained both his imagination of modern city and nostalgia of rural life. He not only took over the mantle of Wen Yiduo in constructing mystic beauty of modern Chinese poetry, and also renovated the vans’writing techniques. An ontological meditation about the developmental way of new poetry was practised from new poetry’s form, and texture and content. He showed clearly how modern Chinese poetry change its banality into profundity, and pointed out its shortage by a compare between rules and forms of classical poem and that of modern Chinese poem. We can find his historical sense to the tradition of classical Chinese poetry in the meditation. His successful and various exploration of modern Chinese poetry’s metrics is a valuable legacy which need to be constantly reviewed and consulted by modern Chinese poets who have been in search of a certain rule for their works. In his after poems, Wu went beyond his anterior bewilderment by learning and accepting Rainer Maria Rilke’s poetry. Among the poems, especially those texts presenting a reinterpretation of the classical legend, his alternative modernity at the aspect of their poetic art deepened and extended Chinese new poetry’s modernism. We should treat his after poems as a pinnacle of modern Chinese poetry at all events.Chapter 6 is the last part of this dissertation. The researcher analyses Fei Ming circle’s poetry concept and practice, for example, Nan Xing and Zhu Yingdan. Nan Xing was an inaugurator and founder of modern Chinese idyll. Zhu Yingdan brought a kind of aesthetic imagination which classical and modern poetics interacting and interrelating in his poetry thoughts and works. This part also depicts realism poetry style. Because the realism poets had to borrow modernist techniques, their writings which aimed to write realistically presented ironically modernist style.更多还原