论新诗运动的“前喻文化”特质  

On the Features of Pre-figurative Culture of the New Poetry Movement

作　　者：章亚昕[1] 

机构地区：[1]山东大学文学与新闻传播学院,山东济南250100

出　　处：《上海大学学报（社会科学版）》2008年第1期120-124,共5页Journal of Shanghai University(Social Sciences Edition)

摘　　要：借用美国人类学家米德的代沟理论术语,可以说在华夏现代文化转型过程中其实有两种不同的发展态势:一种为前喻文化制约下的中西文化撞击态势,一种为同喻文化制约下的中西文化磨合态势。总的来看,是后者在逐渐替代前者。正由于前喻文化长期制约了新诗运动的价值取向与历史走向,新诗才表现出喜新厌旧的激进型艺术特质——长处在于创新有余,短处则在于积累不足;而一旦中西文化撞击被代之以相互磨合过程,同喻文化就可以取代前喻文化。这种文化现象,有助于现代诗形成相对稳定的艺术传统。There are two different developing situations in the contemporary transition of Chinese Culture： one is the colliding situation of Chinese and Western cultures under the restriction of pre-figurative culture; the other is the mixture situation under the restriction of co-figurative culture. The latter is substituting the former. Because the pre-figurative culture has long resticted the value orientation and historical direction of the new poetry movement, it makes the new poetry manifest the radical art feature with the merit of rich-creativeness and demerit of poor-accumulation. Once the collision changes into the mixture, the co-figurative culture will substitute the pre-figurative culture.

关 键 词：前喻文化 后喻文化 同喻文化 

分 类 号：I207.25[文学—中国文学]