【作者】 李仲凡；

【导师】 常文昌；

【作者基本信息】 兰州大学 ， 中国现当代文学， 2009， 博士

【摘要】 本文以新文学作家在建国以后(1949年之后)的旧体诗写作为研究对象。新中国成立之后，新文学家写作了为数不少的旧体诗。正是这些旧体诗满足了新文学家们在特定情境下的写作欲望，旧体诗也成为他们宣泄情感、寄托情怀的有效载体。新文学家的旧体诗，已成为研究者了解这些作家精神世界不可或缺的窗口。有鉴于新文学家建国后旧体诗的重要研究意义，本文选择了这一课题作为研究对象。在研究视角和方法上，本文注意在以下几个方面对前人的研究有所创新和突破：首先，目前已有的现代旧体诗词研究课题或成果，多是从文体的角度，考察旧体诗在现当代的传承、创新和转型，对旧体诗的作者群体关注的面一般较广。本文则专从新文学家作者群体的角度研究现代旧体诗，这是本文与既往现代旧体诗研究的最大不同之处。其次，在新文学家旧体诗的研究方法上，本文既从中国诗歌变迁的这一纵向视角，来观照新文学家的旧体诗，也以新文学为背景，从比较的、共生的横向视角考察新文学语境下的旧体诗写作，力图获得对新文学家旧体诗更为全面的认识。第三，本文又以新文学家的旧体诗为参照系，试图反思和质疑以新文学为中心的文学史观。认为新文学家旧体诗的存在，丰富了文学史，避免了新文学一家独尊的局面。本文的主体部分分为四章：第一章考察的是新文学家建国后旧体诗的文化语境。五六十年代关于新诗的评价以及发展道路问题的讨论，构成了新文学家建国后旧体诗写作的重要诗学背景。新诗向古典诗歌学习方向的强调，重新确认了旧体诗词的价值。毛泽东诗词的发表，使旧体诗词存在与发展的合法性不证自明，营造了宽松的旧体诗词写作氛围，改变了人们新旧体诗对立的思维模式，并且产生了强烈的示范效应，在客观上鼓励了包括新文学家在内的广大诗人尝试、转向写作旧体诗词。第二章梳理的是新文学家的新旧文学观念、新旧文学经验之间的矛盾与互动关系。新文学家的旧式教育，不但培养了他们与旧体诗情感上的亲近，而且深刻地影响了他们对包括旧体诗和新诗在内的汉语诗歌的看法。新文学家的旧体诗创作普遍伴随着一种非常复杂的矛盾心态。他们一方面在特定的时刻和场合写作旧体诗，另一方面又为他们的旧体诗写作感到不安或自责，对自己的旧体诗并不重视或评价不高。新文学家对新旧文学的文体特点、文体功能的区分往往非常明晰，新旧文学有着各自不同的定位。新文学家的新旧体文学创作之间相互影响，写作能力相互迁移。第三章简述了新文学家旧体诗在表现内容和表现形式上对传统诗歌的创新、改造和突破。表现对象上，新文学家的旧体诗突破了古典诗歌的题材范围，出现了古典诗歌中未曾表现过的现代题材。如：社会主义工农业建设题材；国际题材等。新文学家的旧体诗在语言和格律方面对传统诗歌都有所创新和突破。在语言方面，吸收了大量鲜活口语、科技名词、政治词语等新词语入诗。在格律方面，打破了“体有定句、句有定字、联有定韵”的成规，表现出了向民歌和新诗靠拢的趋向。第四章对新文学家旧体诗的艺术品格和内在价值从几个方面做了评析。新文学家建国后的旧体诗，最真实地记录了中国当代历史的诸多侧面，在许多场合充当了历史的“书记员”。新文学家建国后旧体诗在整体格调上对传统诗词变异最大的无疑是它的谐谑风格。新文学家旧体诗的“谐谑化”，是传统诗词样式向俗文学和新文学靠拢的结果。新文学家的旧体诗中表现了不少非常传统的思想感情，在精神上有与古代文人的精神世界更为相近的一面。新文学家旧体诗在生产传播方式、社会功能等方面都显现出和传统诗词相近或相通的一面，不应该片面强调新文学家旧体诗的现代性。新文学家的旧体诗写作，证明了20世纪并不是许多人眼中的纯粹的新文学的世纪，而是一个新旧文学交替、过渡的世纪。旧体诗在文学史上发挥了不可替代的作用。旧体诗因为先天的优势，承担了新诗、新文学无法承担的某些功能，表现了新文学体裁无法或不便表现的内容。20世纪中国文学的新旧文学在表现对象、文学功能等方面的这种互补性，使得新文学家有了在新旧文学之间腾挪转换的自由空间。更多还原

【Abstract】 This dissertation is focused on Chinese modern writer’s classical form poetrywriting after 1949. Classical form poetry met modern writer’s creating desire andserved as an effective channel to express writer’s feelings. Classical form poetry nowhas become an indispensable approach to understand modern writer’s spiritual world.Considering the significance of Chinese modern writer’s classical form poetry, theauthor chooses it as the research object.This dissertation tries to surpass former related research both in research anglesand methods. Fist, former modern classical form poetry study mostly focused in thestyle research. The greatest difference between this paper and former research is thatmodern writer as an confining criteria is introduced for the first time in this paper.Secondly, this dissertation introduced both historical and synchronic coordinates.Thirdly, this paper also regards modern classical form poetry as a new frame ofreference to reflect existing history of literature narration.This dissertation is composed by four parts:The first part focuses on the poetry’s environment in the People’s Republic ofChina era. The reappraisal on new poetry after 1919 and debates on the road ofChinese poetry constitute the background of writer’s classical form poetry. Theemphasis on learning from traditional poetry reaffirmed the value of classical poetryforms. The publication of Mao Zedong’s classical form poetry created a relaxedatmosphere for classical form poetry, and it encouraged writers to write classical formpoetry.The second part is focused on the contraction and interaction between writer’smodern and classical literature training and writing. Classical literature trainingcultivates their favor in classical forms as well as their views on Chinese poetry.Modern writer’s classical form poetry writing generally accompanies withcontradictory mentalities. On the one hand, modern writers write classical form poetry;On the other hand, they feel remorse for their classic form poetry and depreciate their writing. Writers distinguish and position their modern literature writing and classicalform writing clearly. Modern writer’s writing skills of classical literature and modernliterature are interactive.The third part researches the innovation of modern writer’s classical form poetrycompared with ancient Chinese poetry. Modern writer’s classical form poetryenlarged the subject sphere of traditional poetry. There are many new subjects such asmodern industrial and agricultural construction in modern writer’s classical formpoetry, which have never appeared in traditional poetry. Modern writer’s classicalform poetry used various new words or phrases and it also broke rules and forms ofclassical poem. These changes showed an intimacy with ballad and free verse poem.The fourth part appraises the character and value of modern writer’s classicalform poetry. Writer’s classical form poetry acts as a clerk of history and recordedmany historical events. The furthest transformation modern classical form poetry hasis its humor style. This humor style is the result of approaching ballad and free versepoetry. Modern writer’s classical form poetry shows a lot of traditional feelings whichis very close to ancient writers’. Furthermore, it is similar to ancient poetry inwriting、circulation, etc. Researchers should not emphasize its modernity one-sidedly.Modern writer’s classical form poetry indicates that Chinese literature in 20^thcentury is an era in which modern literature coexists with traditional literature ratherthan a pure modern literature one. Classical form poetry plays an indispensable role inliterature history. It assumes some functions which modern form literature do not have.The complementary situation between traditional literature and modern literaturemakes it possible for writes to switch between these two kinds of literature.更多还原