【作者】 孙嘉琪；

【导师】 潘志强；

【作者基本信息】 南京大学 ， 中国现当代文学， 2011， 硕士

【摘要】 在卞之琳三十年代的诗歌文本中,存在着对古典资源的大量使用这一重要现象,卞之琳将这种倾向名之为“化古”。这是卞之琳三十年代的诗歌独特审美价值的重要组成部分,并且在一定程度上显示了三十年代部分诗人的整体诗学取向,同时这一倾向又与三十年代部分诗人对西方诗歌的学习有着密切的关系。本文将以文本分析为主要方法讨论卞之琳诗歌中的“化古”现象及这些现象与卞之琳对西方诗歌学习的联系,并在此基础上试图对三十年代这部分诗人的共同诗学取向作一观察。本文将分三个部分来围绕这一问题进行论述。首先,卞之琳诗歌的“化古”表现在诗歌面貌上,一方面是自觉使用了大量的古典诗歌成规,集中表现于含义丰富的古典意象甚至是典故的使用；一方面是自由联想的诗歌结构,这种结构表面跳跃,但以暗示的方式提示内在线索；另一方面则是表现在跳跃及非演绎化的语言特征上。这三个方面彼此联系,共同构成了卞之琳诗歌古意盎然的风格面貌。然而,卞之琳的“化古”并非单纯学古,而是与对西方诗歌和诗学的学习有着密切关系,甚至曾用一些中国古典诗歌中的术语解释从西方诗歌中借鉴得来的技巧或特征。如卞之琳曾将“意境”与“戏剧化”加以对等,但所指实为通过戏剧化场景的表现方式；卞之琳三十年代提出对古诗词“亲切与暗示”风格的学习,落实到实践上则与法国象征主义之间的关系更加密切；在五十年代至八十年代的文章中,卞之琳将自己在三十年代的诗歌形式实验和格律诗理论与古代诗文格律比较,但实际上则与西方格律更加接近。卞之琳将中国古典诗学术语与西方诗歌加以对接,并非是想将二者从根本上融合,而是将中国古典诗歌元素置于西方美学原则之下,形成其独特的诗歌特点,同时也是为了使西方诗学更易被中国新诗所接受。最后,卞之琳对中国古典诗歌的学习并不是单纯为了学古,而是在艾略特诗学的影响下进而对自身传统的检视。而三十年代像如卞之琳向古典传统的回归的现象也并非孤立,与之交往密切的师友如废名、林庚、梁宗岱等亦在各自的诗论和实践中表现出这一倾向。但他们并不是对传统诗中的一切因素都持赞同态度,而是有其自己的取舍。这种取舍决定了他们的诗学标准并不是简单的回到旧诗,而是有了现代的和西方的视野。更多还原

【Abstract】 In Bian Zhilin’s poems of 1930s, there was an important phenomenon of using a large number of elements from classical resources, which was named as "Transforming Antiquity" by Bian Zhilin. This is an important part of aesthetic value of his poems in 1930s, while this tendency was close with learning from western poetry. This article will focus on "Transforming Antiquity" phenomenon in Bian Zhilin’s poems and the relation of his poetry and his learning from western poetry from the perspective of textual analysis. All these will be reviewed in next three chapters.First of all, "Transforming Antiquity" of Bian’s poetry was shown in the face of his poetry. First, he was aware of using a large number conventions from classical poetry, especially the use of the concentrated expression and the classical image; second, he used the free association poetry structure, which was leap in the surface, but include implicitly clue; third, his poems displayed some language features, such as jump and non-interpretation. These three aspects were connections with each other, together form the Bian’s style with landscape of ancient poetry.However, for language skills and lyrical tactics, Bian’s poem is similar with Ci of Wen Tingyun and Jiang Kui. But as it is the Bian’s copy from Wen and Jiang, then maybe some of the laws will be lost. On the contrary, the "kind and suggests" more inspiration, comes from the study of French symbolism, by learning from symbolism,he turn through the study of learning the good of the old poems.Finally, the return to the classical tradition in 1930s is not isolated, Liang, qian and others in their practice of poetry and also showed a similar trend. While they are in the circle, Fei Ming, Lin Geng, Zhu Ying gave birth to the theory of this trend are all advocates and practitioners. But they are not all the elements of traditional poetry who agree with the attitude, but has its own trade-offs. This choice determines the standard of their poetry is not simply a return to old poetry, but with modern and Western perspective.更多还原