【作者】 陈亮；

【导师】 吴思敬；

【作者基本信息】 首都师范大学 ， 文艺学， 2009， 博士

【摘要】 “口语”问题,是新诗研究中聚讼纷纭的一个话题,它既是当代诗歌批评的话题,也是新诗史的话题。“口语”问题的复杂性,在于以“口语”入诗,“诗”与“非诗”的界限难以确定;也在于“口语”的形态是多,而不是一,对于新诗“口语化”,不同的诗人有不同的诗学处理;同时,新诗“口语”问题在新诗发展历史中,不能不同现代汉语的发展发生关系,不能不同时代的社会语境发生联系,不能不同其他的诗学话语发生联系。这些复杂性使得新诗“口语”问题,难以单纯成为一个诗学问题。本文希图对新诗“口语”问题做出历史化的梳理,对新诗“口语”问题的发生作出一个解释,还原新诗“口语”问题在具体历史语境中的内涵。对新诗“口语”问题历史的考察,同时也反对了将新诗“口语化”本质化,普遍化的倾向。本文第一章,厘清了文言、白话、书面语、口语的概念,对现代汉语的生成和发展作出了梳理,对新诗语言在现代汉语发展中的位置作出了描述,同时讨论了口语和文学语言的关系问题。本文第二章,考察了新诗“口语”问题在新诗发生期的凸显:以胡适的新诗理论为中心,讨论了口语为诗的可能性;考察了后起诗人对早期新诗语言口语化倾向的反拨和建设新的诗歌书面语的努力,讨论了他们对新诗理解的歧异。新诗“口语”问题的争议,就是在这种对新诗语言的不同想象中展开的。本文第三章,讨论了同新诗“口语”问题紧密相关的新诗话题:“大众化”、“方言入诗”和“散文化”。“口语”问题与这些新诗话题有重合之处,而又在历史语境的变迁中走上不同的道路。本章讨论了它们在不同历史语境下既彼此缠绕又彼此辩驳的张力关系,从而呈现出新诗“口语”问题的复杂的历史内涵。本文第四章,研究了“口语写作”在新的历史语境中的发生,考察了“口语写作”形象的建构过程,对“口语化”的界限作出了反思。对于新诗“口语”问题来说,新诗发生的上世纪初,和1980年代以来,是两个关键而又值得比较的时代。本章着重对此作出了论述。本文认为,新诗“口语”问题应放入新诗语言建设的背景中讨论。新诗应该以一种开放和包容的姿态,朝向广阔的语言天地撷取诗歌语言,而不应将某一种语言资源神圣化或绝对矮化。同时,新诗应该积极总结自己的语言传统,在诗歌史和世界文学的视野中,确立自身的位置,开拓诗歌新的表意和审美可能性。更多还原

【Abstract】 Colloquialism is a controversial topic in new style poetry studies. It is a topic both of contemporary poetry criticism and the history of new style poetry. The complexity of colloquialism lies in that it blurs the boundary of“poetry”and“non-poetry”, moreover, lies in the multiplicity of colloquialism. The method of poetic treatment for colloquialism is varying in different poets. The development of colloquialism in new style poetry cannot be separated from the development of modern Chinese language and the social-historical background. All these complexities render the topic of colloquialism beyond the sphere of poetics. This dissertation tries to comb the evolution of colloquialism in new style poetry, and to restore the connotation of colloquialism in particular historical context, it also tries to give an explanation for the appearance of colloquialism in new style poetry. The purpose of historical studies is to argue against the tendency of essentialism and universalism for colloquialism.Chapter one makes clear the concepts of classical Chinese, vernacular, written and spoken language. It ascertains the generation and development of modern Chinese, describes the situation of new-style poem in the development of modern Chinese, and discusses the relation between spoken language and literary language.Chapter two explores the colloquialization of nascent new-style poem, talks about design of new style poem of Hu Shi and others. It studies the repulsion for colloquialization in subsequently arisen poets and endeavors to construct written language of new-style poem and discusses the differences of their understanding of new-style poetry. The dispute about the spoken form of new-style poetry can be upheld in different imaginations of new-style poem language.Chapter three is a discussion of some topics in new style poetry that is closely related to colloquialism:“the popularity”,“the dialect”and“the dispersing of the culture”, which overlap each other, whereas, they stepped onto the different ways in the vicissitude of historical linguistic environment. The winding and disputed relation which was under the various historical linguistic environments was also discussed in this chapter.In chapter four, the occurrence of the“the spoken language writing”in the 1980s was studied. The constructive process of it was also inspected. And we have the reconsideration of the limitation of the“colloquialism”. Regarding to the spoken language occurring in the new-style poem, this chapter focuses on two pivotal ages: the beginning of the 20th century and the 1980s.This dissertation holds that the problem of colloquialization of new-style poem should be discussed in the context of the construction of new-style poetry language. The new-style poetry should capture all forms of poetic language rather than be restricted to a particular language resource. At the same time, the new-style poem should actively summarize its traditional linguistic features and establish its own position in both the history of poetry and the circle of world literature, in order to pioneer the possibilities of new presentation and new aesthetics.更多还原