【作者】 胡苏珍；

【导师】 吴晓；

【作者基本信息】 浙江大学 ， 中国现当代文学， 2009， 博士

【摘要】 在新诗发展的历程中,“戏剧化”是一个兼涉诗学倡导与写作策略双重领域的异质性概念,曾以不同的提法、内涵进入新诗不同阶段优秀诗人的诗学或文本实践当中,但至今仍未见专文或专著进行整体、系统的研究。鉴于新诗戏剧化问题的复杂错综,本文从跨语际实践这一视域进行观照,在考证史实的基础上辨析中西诗学交汇过程中的借鉴、接受及内化,力求准确地把握新诗史上各种“戏剧化”话语的指涉内涵及信息价值,并在此基础上,通过文本细读阐释“戏剧化”实践的不同层面及审美质素。本文具体观点如下:和“小说诗化”、“小说戏剧化”等文类融合现象机制相似,新诗“戏剧化”实为“化戏剧”,即现代汉语诗人分别在不同的写作当中借鉴“角色”和“面具”等戏剧理念,融汇“矛盾冲突性”、“综合性”等戏剧精神,建构“在场”、直观的戏剧化场景,以特殊的诗思和手法达到了“诗”的另一些层面。论文的主体部分包括历时性梳理和共时性阐述,具体章节及内容依序如下:绪论部分厘定概念,在整合不同诗人的诗学及写作经验论的基础上首次将“新诗戏剧化”提升到文类美学融合层面进行考察,并介绍论题的研究现状,阐明本论文的写作意图及思路构架。第一章概述诗歌“戏剧化”论说在中西之间的跨语际实践过程,整体性地考察本土诗人对异域诗学译介和接受中的直译、转述、筛选及信息误读情况,并从新诗实际面临的问题、写作主体的态度及新诗形式发展的需求等方面论证新诗戏剧化写作的生成机制。第二章根据新诗戏剧化写作实践的阶段性特征,梳理三个时段的“戏剧化”写作的具体渊源和表现形态。1920年代,新月诗人从体式建设意识和艺术节制原则出发,借鉴异域诗歌的戏剧化、客观性艺术;1940年代,部分学院派“九叶”诗人在关注现实语境和诗艺现代性的诉求下,主动接轨西方前卫的现代主义诗歌及诗学,使“戏剧化”成为一个诗学命名,且以特殊表现形态彰显于文本创作中;1990年代,“戏剧化”内化于本土诗人个体诗学的知识谱系中,相关文本写作表现出丰富的包容力和繁复的技艺。第三章从诗人和文本言说者的关系,阐析“主体的戏剧化”。出于对节制性、非个人性的追求,一些现代汉语诗人搁置直接的自我抒发,借鉴“角色”。“面具”的言说方式.其中主要分为“他即我”与“‘我’非我”两类形态。本章还首次提出布莱克的“自我分化”思想对穆旦写作中的主体戏剧化的深刻影响。第四章论述“诗思的戏剧性”。在新诗现代性进程中,一些诗人面对现代社会冲突纷繁的内、外宇宙,不再停留于平面、单一的线性传达,而是在文本中凝聚和综合相互对立、冲突或异质性的情思经验。新诗中的戏剧性诗思常体现为假叙述情境中的隐含冲突,言语反讽和结构反讽则是呈现矛盾性情思的助动器。第五章阐析戏剧化手法的表现形态。诗人通过建构在场式的戏剧化场景,追求现在时、进行时的直观美学效应,并注重场景本身的暗示性、时空错置性和灵活转换性。格律化、意境化和语义编码的变形,先后成为戏剧化口语表述获得诗性平衡的几种主要途径.结语部分整体性评价了新诗“戏剧化”实践的价值及存在的问题。肯定了“戏剧化”对拓展诗人自我、深化诗歌内涵、丰富新诗形式的意义,并对新世纪以来肤浅、游戏式的叙事性文本提出了警示.更多还原

【Abstract】 In the development of modern verse, dramatization is an important concept both in poetry and writing strategy, and in terms of different formulations and connotations, has been used in the poetics and textual practice of top poets during different periods. Yet up till now, there are no particular essays or books concerning integrated and systematic study of it. This dissertation, considering the complexity of dramatization of modern verse, attempts from a cross-lingual perspective, to grasp reference, reception and internalization in the process of sino-western poetic communication based on historical research, so as to seize the referential connotation and information value of various "dramatization" discourse in the history of the modern verse. On the basis of this, follows an interpretation, through close reading, of different levels and aesthetic elements of the "dramatization practice" The concrete arguments are as follows: similar to the mechanism of genre syncretization such as "fictional poetization" and "fictional dramatization", poetic dramatization is virtually "blend the aesthetic idea of drama with verse writing", that is, modern Chinese poets refer respectively to theatrical notions such as "character" and "mask" in diverse writings, blending dramatic spirit such as" contradiction "and "conflict" and the characteristic of "synthization",constructing intuitionistic dramatic scenes of "presence", thus in special approaches and thinking, achieving other levels of "poetry". The diachronic traces and the synchronicity presentation are included in the main content. The key parts of the essay include both diachronic and synchronic description.The part of introduction demarcates the concepts, investigating the poetic dramatization from the perspective of the genre integration on the basis of the combination of the poetics and the view on writing experience of different poets, and introduces the present situation, the innovalue and framework of this thesis briefly.The first chapter inspects sino-western cross-cultural practice process of poetic dramatization, wholely examining stage by stage literal translation, retailing, selection and information misreading in local poets’ translation, introduction and reception about overseas poetry. It also proves the producing mechanism in respect of writing attitude, form development and problems of new verse.The second chapter describes the reasons and performance of dramatization in verse writing in three periods. In 1920, Crescent Poets learned the objectivity of drama from the principle of a form construction consciousness and reserved principle of arts. In 1940s, by focusing on context and verse modernity, Jiuye Poets of Academy actively integrated western modern verse and therefore named the definition of "dramatization" and used it in verse writing. In 1990, "dramatization" was internalised into the knowledge of native poets and their works displayed rich inclusiveness and complex techniques.The third chapter explains the dramatization of subject from the relationship between poet and words speaker.Due to the reserved aesthetics effect and non-individual pursuit, modern poets takes the forms of using actors and masks to organize the form but not by using self description. The new form can be mainly divided into express ways of "He is me" and "Me but not myself " .For the first time, this chapter has suggested the deep effects of William Blake’s idea of "the separation of myself" on Mudan’s dramatization writing.The fourth chapter maintains dramatic poetic thinking. In the process of new verses modernity development, some poets displayed and synthesized conflicting or opposite thinking experiences in poem writing but not only stopped in single or horizontal expression. Dramatic poetic thinking in new verses often has manifestations in hidden conflicts in false narrative situations, with speech irony and structure irony as booster representing moods of contradiction.The fifth chapter describes the expression form of dramatization. The poet, through constructing dramatization scenes of presence, pursues intuitionistic aesthetics effect of present tense and continuous tense, and values implication, temporal-spatial misplacement and flexible conversion. The rhythmization, contextualization and the transformation of semantic codes has become a means of balancing poeticity of verbal expression in dramatized speech during three phases. The conclusion part evaluates dramatization in modern verse and its existing problems. The essay not only proves the significance of poet’s self expansion, rich poets meaning and colorful new verse forms, but also presents warnings on the superficial and insincere verses since the new century.更多还原