【作者】 许泽平；

【导师】 李志元；

【作者基本信息】 广西师范学院 ， 中国现当代文学， 2012， 硕士

【摘要】 新世纪以来，诗歌批评主要聚焦于个体诗人研究、70后诗歌研究、诗学概念研究、网络诗歌研究等方面，对近些年引人瞩目的80后诗歌群体的研究和批评比较有限，整体上处于一种滞后状态。如果暂且搁置80后诗歌代际命名存在的诸多问题，或许就可以发现，80后诗群业已成为当下诗坛不容忽视的新生的力量，我们有必要把80后诗歌与70后，乃至以往的诗歌写作进行历时比较，也有必要对80后诗群内部存在的诸多复杂多元的现状进行横向比较和描述，以此对80后诗歌写作的得失做一番细致的考察。对“80后诗歌”这个概念的内涵和外延，诗歌界有不同的理解。本文抛开了对“80后诗歌”概念的诸多争议，只把它看成是对断代时间内（1980年至1989年出生）诗人及他们的诗歌创作的集合称谓，而不是对具体的诗歌流派或诗群特征的描述。这个概念包含了对时代刻在这一代人身上的共同烙印的关注，也不忽略对每个80后诗人艺术个性的重视。首先，本文从整体上考察了对80后诗歌产生影响的三大语境，一是“影响的焦虑”，80后诗歌的代际命名，就是在反抗前人的各种挤压中产生的；二是网络和民刊的大量涌入，一方面拓宽了这代人的发表阵地，同时也造成了一些诗人拉帮结派、追名逐利、类型化写作的弊病；三是当下中国整体的时代语境是极其混杂的，它夹杂着各种前现代、现代和后现代的因素，在此中生长起来的80后诗歌必然是极其复杂和多元的，而不是铁板一块。与此相关联，本文接着就80后诗歌创作中的写作形态进行了分析，主要论述了80后诗歌两种最重要的极端现象：先锋写作和后撤写作，一种是激进地前倾、以批判和质询为己任，一种是执着地后撤，回归个人内心。这两种写作方式，表面上看呈现出完全不同的形态，但其实是殊途同归的，某种程度上讲，它们都是对现实的不满和反抗。时代语境和写作形态，可以看作是在外围对80后诗歌做了一个整体的勾勒。在此基础上，本文转入对80后诗歌内在肌理的分析。首先是从80后诗人涉及城市和乡村题材的诗歌入手，着重分析了这代人的生存空间及他们的心灵图景。80后诗人对城市的书写，展现出了对现代工业文明的极度不信任，他们从个人的生存体验出发，对城市的异化和城市的荒原感进行了批判。换句话说，80后诗人眷恋着乡土的淳朴，但乡土的苦难又让他们难以返回，因此，他们更倾向于在诗歌中再造一个“想象的乡土”，以此来弥补现实乡土的失落。其次是对80后诗歌的经验世界进行归类分析，对诗人笔下几个常见的重要主题，如成长与怀旧、爱情与青春、身体与性、日常生活等方面进行了探讨。80后诗人热衷于怀旧，因为在“时间的魔术”中他们可以逃离现实的无奈；他们热衷于书写感伤的爱情，因为在缺憾性的爱情结构中他们可以找一条返回逝去的青春的通道；但在对身体和日常生活的书写方面，他们有更清醒的担当，对身体尊严的回归和对日常生活诗性的追寻，体现了这代人诗歌写作中严肃和纯正的一面。在对80后诗歌整体的写作有了一个基本的考察之后，本文分析并归纳了80后诗歌中比较重要的五种技艺：自由拼贴、精致的现在、戏谑与解构、冷叙事、语言的平面化，以此来管窥80后诗歌多元的艺术个性和审美风格。总体而言，在当代诗歌写作格局中，80后诗歌既展现出了一些新的独特气质，也存在一些浮躁和喧哗之处。随着一代诗人的逐渐成熟，有理由相信，80后诗歌写作也将不断得到拓展和深化，同时，人们对80后诗歌的探索还远未完成。更多还原

【Abstract】 The new century, poetry criticism focused on the individual poet, poetry study “after70”,the concept of poetics, the network Poetry, etc. The study and criticism of poetry groups in theimpressive80is relatively limited, the overall in a lag state.If we temporary shelved “after80” poetry’ named many problems,“after80” poetrygroup has become a new force that can not be ignored in the current poetry. We have thenecessary to have a diachronic comparison between the “after80” poetry and70, and evenother poetry writing; Also necessary rampant comparison and description of “after80” poetrygroups that exist within the complex and diverse the status quo and do some carefulinvestigation, to the pros and cons of poetry writing in the “after80”.The poetry world have different understanding about the connotation and extension ofthe concept of the "after80” poetry, but set aside the controversial "after80” poetry conceptand just treat it as a dating period of time (born from1980to1989) the title of a collection ofpoets and their poetry writing, rather than a description of the specific poetic genre or poetrygroup characteristics. This concept includes the era engraved concern in the common mark ofthis generation, do not ignore the importance of the poet artistic individuality in each of “after80”.On the whole, this paper first examines the three context of “after80” poetry, one is "TheAnxiety of Influence", intergenerational named of “after80” poetry had produce by againstthe previous extrusion; Second, network and Non-governmental publications influx of，on theone hand, to broaden the published positions of the generation, but also resulted in a numberof poets cliques, fame, the shortcomings of the type of writing; Three, the present era ofChina’s overall Context is extremely mixed, it is mixed with a variety of pre-modern, modernand postmodern elements, it make “after80” poetry to tremely complex and diverse, notmonolithic.Then, this article observed the form of poetry writing in the after80,discusses theextreme phenomena of the two most important poetry of “after80”: Pioneer Writing andRetreat Writing, one have a radical attitude, make criticize and question for theirresponsibility;One is dedicated to the retreat, return to the individual heart. These two waysof writing, the surface showing a completely different form, but in fact is the same thing, tosome extent, they are dissatisfied with the reality and resistance.The context and writing patterns, can be seen in the periphery “after80” poetry a wholeoutline, the paper then transferred to the analysis of inner texture of the “after80” poetry.The first is about “after80” poet have writing a lot of urban and rural theme of poetry,focus on the living space of this generation and their picture of the mind.“after80” poetswriting of the city, show the extreme distrust of modern industrial civilization, starting fromthe individual’s survival experience critique of urban alienation and the sense of urban wasteland. On the basis of,they sentimentally attached to the local，but the suffering of thehomeland will make them difficult to return to, so they are more inclined to local recycling"Imagine" in poetry, in order to compensate for the loss of the real native.Secondly, to classify and analyze the “after80” poet’s experience world,a few commonthemes, such as growth and nostalgia, love and youth, the body and sex, daily life wasdiscussed;“after80” poet interested in nostalgia, because they can escape from the reality ofthe helpless in the magic of time; they are keen on writing sentimental love, because they canfind in the love of the shortcomings of the structure of the channel of a return to lost youth;but physical and daily Life writing, they have a more sober,take on the return of the dignity ofthe body, and search for the poetry of everyday life,performance of this generation poetrywriting serious and pure.After have a basic investigation of “after80” writing of poetry, the article summarizesthe five important skills of “after80” poetry: free collage, exquisite now, joking with thedeconstruction, cold narrative, the language of the plane. Through these, we can understandthat “after80” poetry have diverse artistic individuality and aesthetic style.Overall, the pattern of contemporary poetry writing, after80poetry both show a new andunique temperament, there are also some impetuous and noisy place.With the generationmatures, their poetry writing will continue to expand on.in this sense, our explore about“after80” poetry is far from complete.更多还原