【作者】 张丽；

【导师】 胡全章；

【作者基本信息】 河南大学 ， 中国现当代文学， 2013， 硕士

【摘要】 十九世纪末，梁启超提出了“诗界革命”这一文学变革口号，影响甚远。诗界革命的理论由最初的“新意境”、“新语句”、“旧风格”到后来的“以旧风格含新意境”，虽然仍沿用中国传统诗歌形式，但其爱国救亡、启蒙新民的时代主题却深入人心。继“维新派”诗人之后登上时代舞台的“革命派”诗人，如高旭、柳亚子、秋瑾、马君武、陈去病等，仍坚持诗界革命“以旧风格含新意境”的理论主张，创作了大量带有诗界革命变革精神与方向的革命诗歌，但这一现象却未能引起研究者的足够重视。柳亚子作为南社创始人之一和实际领导者，并非一开始就是激进的革命诗人。就其文学创作和主张而言，柳亚子一直秉承梁启超的诗界革命理论，并对其有所发展。针对柳亚子与诗界革命的关系，本文论述主要分为以下几个部分：引言部分，主要介绍本论文的研究意义，并对目前的研究现状进行梳理。第一章简要介绍诗界革命的理论及诗歌创作实践。此章分三节，前两节主要针对诗界革命理论的提出、诗人群的创作以及诗界革命的影响稍作阐述，第三节重点分析诗界革命发展的新阶段——“革命诗潮”对“以旧风格含新意境”是诗界革命理论的继承和发展。第二章主要分析柳亚子早期诗歌创作的特点及其对诗界革命的继承。前两节介绍柳亚子早期个人经历及前期的诗歌创作，这一时期他的诗歌多出现“新名词”、“新语句”，明显继承了诗界革命前期的理论主张。第三节分析《复报》时期柳亚子的诗歌创作，这一时期他的思想逐渐转向革命，诗歌创作内容也以民主和民族革命为主，偏重“新意境”的塑造。第四节总结柳亚子这一时期的诗歌特点，“以旧风格含新意境”仍是柳亚子坚持诗歌创作的理论旗帜。第三章分为两节，主要针对柳亚子中后期的文学观进行简单论述。“旧囊新酒”理论和“旧诗革命”理论是柳亚子在“以旧风格含新意境”的理论基础上发展并提出的，但并未引起太大影响。最后对柳亚子与诗界革命之关系一直隐而不彰的原因进行简要分析。结语部分，对全文进行总结。柳亚子一方面鼓励和支持新文学，另一方面却一生坚持旧体诗创作，这一文学主张和文学创作的矛盾现象体现了诗人在文学变革时期对传统文化难以割舍的复杂情怀。更多还原

【Abstract】 At the end of19th century, Liang Qichao put forward a slogan of literature transformation--"PoeticRevolution", which had a lasting effect. The theory of Poetic Revolution ranged from the original "newconception, new words and the old style" to "the old style with new artistic conception", though it still usedChinese traditional poetic form, the theme of its patriotism, enlightening people have win support amongthe people. After the reformists poets, new poets named "revolutionary poetry poet", such as Gao Xu, LiuYazi, Qiu Jin, Ma Junwu, Chen Qubing, still insisted the theory of revolution "the old style with newartistic conception", and they had created a large number of modern poems, which had been largelyeffected by the theory of Poetic Revolution, but this phenomenon had never caused enough attention ofresearchers then. Liu Yazi was one of the founders of South club and the actual leader. He was not a radicalrevolutionary poet at the first time. In terms of literature, he had been adhering to Liang Qichao’s theory ofPoetic Revolution--"the old style with new artistic conception" and developed it.According to this relationship between Liu Yazi and Poetic Revolution, this article can be constitutedinto several parts, as follows:The part of introduction mainly introduces the research significance of this paper, and carding thecurrent research status.The first chapter briefly introduces the theory of the revolution and the poetry creation practice. Thereare three sections in this chapter. The first two parts aim at analysing the raising of the Poetic Revolutiontheory, the group of poets writing and the influence of the revolution. The third section mainly analyzes thenew stage of the development of the revolution–"revolutionary poetry poet", and the development from the"old style with new artistic conception" of the Poetic Revolution.The second chapter mainly analyzes Liu Yazi’s early personal experience and the creation of poetry.The first two sections mainly introduces Liu Yazi’s early experience and early creation situation. Duringthis period, his poetry was used many "new words" and "new statements", which obviously inherited thepoetic revolution theory of the early stage. The third section introduces Liu Yazi’s poetry creation duringthe "Renaissance newspaper" period. This period his thought was turning to revolution, the poetry creationwas mainly to democratic revolution and national revolution, which focused on shaping "new conception". The forth section is a generalization of the characteristics of Liu Yazi’s early poetry creation. The "old stylewith new artistic conception" is still the theoretical guidance of his creation.The third chapter has two sections. It focuses on Liu Yazi’s later period literature view, which "Thenew wine in old bag" and "The old poetry revolution" are both inheritance and development of poeticrevolution theory, but they didn’t cause too much effect. And last analysis the reason why the relationshipbetween Liu Yazi and the poetic revolution was hidden.The epilogue gives a summary of the whole article. On the one hand, Liu Yazi had encouraged andsupported the new literature; on the other hand, he had adhered to the old style poetry creation all of his life.The contradictions on his literature and literary creation reflected the complex feelings of the poet duringthe literature change period with traditional culture.更多还原