晚清至五四诗歌的言说方式研究

【作者】 赖彧煌；

【导师】 王光明；

【作者基本信息】 首都师范大学 ， 文艺学， 2006， 博士

【摘要】 晚清至“五四”的诗歌之所以值得注意，乃在于可以从中提取百年现代汉语诗歌遭遇的一些重要问题。新诗作为一种新的诗歌体式，是与现代经验、现代语言诸多因素互动中的创生物。新诗发生的过程中，现代性的寻求作为一个或隐或显的框架，有力地介入了作为承受者的语言，这是整个中国现代文学之为现代的重要根源。诗歌当然也概莫能外。然而，作为一种特殊的“说话方式”，诗歌遭遇的问题显得较为复杂，在承受现代性塑造的同时，不仅是经验的变化，而且是经验与体式的矛盾纠葛中彰显了它的特殊性。 本文认为，言说方式的寻求与建构是晚清至“五四”诗歌的最根本课题。提出言说方式作为核心概念，主要基于如下考虑：该阶段诗歌的变化、伸展不只是经验层面推动的结果，而且是寻觅新的格式乃至新的抒情方式的结果。由于言说方式最基本的内涵至少和两个维度有关，即历史的与美学的，或者说经验的与形式的，因而并非是“纯粹”的现代性寻求在单一维度对诗歌说话方式的塑造。诚其诗歌特殊性的要求，我们看到，在现代经验和语言意识的交汇之处，创制新的诗歌体式才有了可能，考量新的抒情方式的品格也应该在这个层面展开。 基于此种把握，格式的转换、经验的牵引、情感的表现、诗艺的寻求以及现代性对古典的压抑与规驯是本文着力梳理的主要问题。这些关键词共同组构了诗歌言说方式的重要部件。本文力图揭示的是，它们之间的联系不是表层的，而是一种深度的相互牵扯的纠葛。 文章深入分析了晚清诗歌的革新和复古两种向度，发现前者的困境在于外向的现代性和内抑的古典之间的冲突，后者的困境在于作为正典的古典与诗歌史要求以及现代性之间的紧张。在这重比照下，胡适的出场显得非常重要，他的白话诗方案具有沟通经验(现代性)与形式(古典之外的新美学)的可能，在此基础上文章进而分析了格式转换的重要性，自由诗体式作为对古典的替代彰显了它的重要性。如果说，上述分析主要还着眼于新格式(形式)如何与现代性冲动的对接，本文并不满足于此，进一步分疏出了代际性诗人的不同使命。胡适的功绩主要是格式转换的成功，是新／旧二元框架内的成功，而康白情、郭沫若等人则在抒情方式的向度上深化和延展了新诗的品格，他们分别代表了“呈现”与“发明”的抒情方式，后者作为一种浪漫主义的美学方式得到了相应的辨析。总体看来，“呈现”和“发明”带给早期新诗的课题与问题是，如何在经验与诗艺的互动、拥抱中塑造出一种更具建设性的诗歌美学，这点在闻一多等人身上得到了体现，是他们初步找到了一种可以有效接纳经验的抒情方式。 与本文关注的问题密切相关，新诗的发生不仅仅是古典格式的简单转换，而更多还原

【Abstract】 The poetry in the period from late Qing Dynasty to the May 4^th Movement of 1919 is well worthy of note and research, for some crucial problems revealed later during the century of Modern Chinese Poetry, have emerged on their own right. As a unique style of poetry, the New Poetry is a mixture of interaction of many factors such as modern experience, modern Chinese language, etc.. In the course of the genesis of the New Poetry, what is noticeable may be that modernity pursuit, as an explicit or implicit frame, gets deeply involved in the language （the bearer）, which is the key source of making Chinese modern literature stand on its own foot. Poetry is likewise and the problems it encounters appeal more complicated.The present thesis argues that the essential topic and task of the poetry from late Qing Dynasty to the May 4^th Movement of 1919 is to find out the proper way of expression and to build up the poetical utterance, the basic connotations of which are related to at least two dimensions: the historical and the aesthetic, or rather the experienced and the formal. Therefore, it is not the "pure" modernity pursuit that shapes the method of poetical utterance.Based on the analyses as above, this thesis attempts to explore the following: the transformation of poetical styles, expression of emotions, pursuit of poetry art, and the modernity’s suppressing and shaping the classic. These key words are just the critical elements forming the poetical utterance. The present thesis tries to discover that these elements are not superficially but deeply involved.This thesis analyzes the two tendencies of the late Qing poetry: the innovative and the ancientry worship, and reveals the conflict between extroversive modernity and the introversive classic. Moreover, the author points out that Hu Shi succeeds in transforming the poetical style in the frame of new/old dimension, while Kang Baiqing and Guo Moruo widening the usage of lyric mode of New Poetry. The former represents the presentation way, the latter represents the "invention" way. In a word, the genesis of New Poetry means not only the simple transformation of更多还原