新世纪贵州诗歌抒情主体变迁探析  

A Tentative Analysis of the Change in the Lyric Subject of Guizhou New Central Poetry

作　　者：颜同林[1] 彭冠龙[1] 

机构地区：[1]贵州师范大学文学院,贵州贵阳550001

出　　处：《贵州师范学院学报》2012年第2期1-4,共4页Journal of Guizhou Education University

基　　金：贵州省优秀科技教育人才省长资金项目"大西南文化与贵州20世纪新诗研究"(编号:黔省专合字[2009]112号);贵州师范大学校级课题"出版传媒与当代贵州少数民族诗歌"阶段性成果

摘　　要：新世纪贵州诗歌相对于十七年时期和新时期贵州诗歌的最大变化在于抒情主体由"我们"变为"我"。在这一变迁过程中,诗人创造性想象由弱变强,作品"情"与"景"由分离状态逐渐合一,"真"与"幻"由对立状态逐渐协调。同时它开拓了另一层个人化的表现空间,在"向内转"的倾向中,凸现个体心灵中的繁复感受,也相应导致贵州诗歌中的民族色彩开始消隐。The most profound change in Guizhou poetry in the new century, in contrast of those during seventeen -year period and new period, lies in the change of lyrical subject from＂we＂ to＂I＂. During the transition process, the creative imagination of poets improved from dull to rich; The＂ emotion＂ and＂ scene＂in the works gradually became integrated from separation, and＂ reality＂ and＂ illusion＂ gradually became harmonized from conflict. At the same time it has opened up another layer of individualized space, where the complex feelings of individual~ soul are highlighted in the tendency of＂tuming inward＂, causing the color of nationality in Guizhou poetry start to fade.

关 键 词：新世纪诗歌 贵州诗坛 抒情主体 

分 类 号：I207.25[文学—中国文学]