象征的漂移

【作者】 颜炼军；

【导师】 刘淑玲；

【作者基本信息】 中央民族大学 ， 中国少数民族语言文学， 2011， 博士

【副题名】汉语新诗的诗意变形记

【摘要】 汉语新诗兴起以来近百年间,各时期诗意的焦点一直在不同的象征结构之间漂移。本文选择了若干具有代表性的象征结构,着力探讨它们自身的生成演变历程,同时尽力勾勒出各代表性的象征结构之间的递变关系,以期清晰地展示出一部汉语新诗诗意变形记。从发生之日开始,汉语新诗无论是在方法论上,还是在写作实践上,都与古典诗歌和西方诗歌有着密切的关系。为勾勒出汉语新诗诗意变形的轨迹和背景,笔者将它们编织进论文的“花地毯”中,以满足“完整”的幻想。现代新诗对古典诗学资源的反思和汲取,反映在许多方面,在开篇中,笔者以《诗经·郑风·风雨》一诗在现代文学和学术语境中遭遇的阐释和挪用为例,梳理了此诗在现代阐释中的古典依据,及其与新诗写作方法论反思之间的密切关系,揭示出汉语古典文学转向现代文学过程中一些鲜为人注意的细节和线索,进而牵引出观察现代文学观念的生成和流变的一种新视角。在此基础上,第二章讨论了现代汉语新诗中的写物观念和意象系统形成过程中的一些有趣现象,为了凸现它们的特点,笔者把例证放到了中西诗歌传统交汇的背景下。笔者认为,在中西诗歌源流中,虽然诗歌“所写之物”与“所写之意”之间的关系模式区别很大,但我们可以在其中找到某种共通感。尤其在考察现代汉语诗歌中“写物”能力的重建时,必须从这两种源流谈起,它们之间的共通感,促成了现代汉语诗歌的发生和兴起。通过分析比较,笔者认为,五四以来形成了两类诗歌写作,一类是在词语的建筑中寻找和经营“空白”,说出生命与世界之间的偶然和自由；一类则努力用词语去撑满民族和政治意识形态需求的主题,它们形成了未来主义诗学的动力。这就引出现代汉语新诗中的一个重要意象系统,关于“祖国”的隐喻。也是第三章谈论的焦点。笔者提出了如下问题：如何从诗歌自身出发,而不只是在诗歌社会学的意义上理解上世纪三四十年代开始酝酿的中国政治意识形态和集体/爱国主义话语曾经给诗歌注入的那些持久的兴奋?它们曾长期作为汉语新诗的内在气质,支撑着汉语诗歌与事物的对话结构。作为其体现的现代汉语诗歌话语中的“祖国”修辞运动,反过来也拓展了文学的世界,使之获得了不同于以往的抒情轴心和运转机制。“祖国”抒情的诞生及其在美学上合法化、内在化的过程,导致文学中诸多新特质的出现。它是现汉语新诗中最为扑朔迷离的崇高意象之一,它呼唤出的前所未有的诗歌抒情主体形象,一直延续到当代的“朦胧”诗中。当然,当代以来,汉语新诗的崇高性焦点,也渐渐从对凝聚着政治意识形态和民族情感的“祖国”话语的消化和搏击,转到在语言自身的探究中锻造与之匹配的新的象征结构。因此,第四章里,笔者以八十年代开始大量出现在诗人笔下的“天鹅”及其引领的合唱队为例,考订它们在诗歌中的“前世今生”,爬梳出这些新的象征结构诞生的“历史”,以及所包含的诗学问题。如果说,关于“祖国”的诗歌隐喻让汉语诗歌在特定的历史条件下,具备了一种穿越事物的特殊能力,足以把它们都贯穿在其象征网络之中,把所有人的声音都集为一种声音的话,那么,天鹅以及它引领的鸟的合唱队,则有力地让汉语诗歌重新回到对于诗歌自身角色的反省和意识上,并重新反思了诗歌与看不见的事物之间的关系,同时,也让抒情中的个体足以从此前集体幻觉中分离出来,在新的背景下,形成新的自我象征方式。由于历史的巨大变化,在“祖国”和“天鹅”代表的抒情模式式微的同时,九十年代开始的汉语诗歌中的自我与集体之间的关系,渐渐发生了非常诡秘的变化。似乎所有出色的诗人,都把诗意的展开建立在对这种关系的警醒之上。九十年代以来的许多诗歌杰作中,这种“小心翼翼”转换为诗歌对于公共生活的变形。在这个时期,诗人杜甫被重新想象,以应对社会大时代与诗歌之间渐趋激烈的相互“否定”。“克服”这种否定性处境,成了此时期诗歌写作的起点。总之,在不同历史语境中,诗歌的真谛总是要变着法儿被说出。对汉语新诗来说,笔者着力讨论的几个象征结构,正是“变法儿”的集中点,它们在汉语新诗诗意变形史上有深远的影响。汉语新诗诗意在它们乃至更多的象征结构之间的停泊和漂移,呈现了多维度的诗意突破、增长和变形态势,而且还要继续下去。因为,诗歌只有随着存在困境而不断变形,逃脱被各种意识形态和知识禁锢的危险,才可能改善我们的永恒的缺失。更多还原

【Abstract】 Since the blossoming of the modern Chinese poetry during the last century, the focus of the poeticness in different periods keeps shifting among different symbolic structures. This paper, with the aim of presenting a clear picture of the poeticness transformation of the modern Chinese poetry, chooses several representative symbolic structures, probes into their own generating and evolution processes, and makes an effort to describe the changing among these symbolic structures.At the very beginning, the modern Chinese poetry relates to the Chinese classical poetry and western poetry closely methodologically and practically. In order to clarify the transformation track and background of the poeticness changing of the modern Chinese poetry, I add all these to this paper for a complete discussion. In order to sort through the modern poets’reflection upon the classical poetry resources and their absorbing of it, I analyze the interpretation of the poem Shijing·Zhengfeng·Fengyu and reference to it in the first chapter, clarify the classical basis of its modern interpretation and close relationship with the reflection of the modern Chinese poetry methodology, and conclude a new angle to observe the generation and evolution of the modern literature viewpoint after revealing some unnoticeable details and clues of the change from the Chinese classical literature to modern literature.The second chapter discusses the exemplification of some interesting phenomena fashioned during the formation of the describing conception and imagery system against the background of the join-together of the Chinese and western poetry tradition to project their characteristics. In my opinion, although the imagery systems in the Chinese poetry tradition are very different from those in the western tradition, we are still able to find something in common between them. Especially when we investigate the rebuilding of the describing ability of the modern Chinese poetry, we have to start with the discussion of these two traditions, since their connection leads to the existence and development of the modern Chinese poetry. After the contrast and comparison, I propose that there are two kinds of poetry writing after the May 4th movement in 1919, one kind is seeking the blank of the wording and word building to express the freedom of life; the other kind, which is becoming the motivation of the futurism poetics, is using the existing words to satisfy the needs of the nation and political ideology.The third chapter focuses on the metaphor of motherland which is a key imagery system of the modern Chinese poetry. In my opinion, it is important to understand the poem itself, instead of political ideology, collectivism and patriotism expressed in these poems from the viewpoint of poetic sociology. The birth of the motherland lyricism and its legalization and internalization aesthetically lead to the appearance of many new characteristics of literature. Motherland becomes one of the most mysterious imageries in the modern Chinese poetry, and it builds the unprecedented main body of the lyricism, and continues to exist in the contemporary obscure poems. Of course, the focus of the greatness of the modern Chinese poetry gradually shifts from the digest of the discourse about motherland soaked with the political ideology and nationalism to the exploration of the language itself for a new symbolic structure. Therefore, chapter four explores the history and deployment of the imagery of swan which was used extensively in the 1980s, and its related poetic issues. This poetic metaphor of motherland, travelling through the entire symbolic net in a particular historic condition, makes the whole group speak out in one way. However, the swan metaphor and its related bird metaphor make the Chinese poetry reposition its role to rethink the relationship between the poems and the invisible things, and it also separates the individual from the group illusion and creates a new self symbolic way against a new background.Due to the tremendous historical change, the self-group relationship in the Chinese poems in the 1990s began to change. It seems that all the good poets tend to build the poeticness on the warning of this relationship. In many masterpieces written after 1990s, this kind of warning transferred to the poetic description of the public life. In this period, the legendary poet Du Fu was reimaged in order to adapt to the growing mutual denial between the society and poetry. Therefore, to deny that "denial" became the starting point of the poet writing during that period.To sum up, the truth of poetry is always expressed different in different historical context. This paper discusses the symbolic structures which are the locus of the difference of the modern Chinese poetry and have a profound impact on the imagery change in the history of the modern Chinese poetry. The poeticness of the modern Chinese poetry lies in these structures or even more, and it also shifts among them, for its sustained development. Therefore, poetry has to transfer according to its existing difficulties to escape various ideologies and knowledge durance and to fill our eternal missing.更多还原