自由的狂欢 非诗化的试验场——20世纪90年代的“民间写作”论  

Unconstrained Carnival and Non-poetic Experiments:On the “Folk Writing” in 1990s

作　　者：曾方荣[1] 

机构地区：[1]邵阳学院中文系,湖南邵阳422000

出　　处：《邵阳学院学报（社会科学版）》2012年第5期53-59,共7页Journal of Shaoyang University:Social Science Edition

基　　金：湖南省教育厅重点研究课题"新诗发展的非诗化反思与诗美重构研究"(2010A112)

摘　　要："民间写作"是20世纪90年代中国大陆诗歌写作的一股不容忽视的重要力量,对中国新诗的多元化发展与探索具有一定的积极意义。其诗歌创作与探索呈现出了三个突出的写作特征:一是绝对独立自由的个人写作立场;二是向世俗生活彻底敞开的取材原则;三是诗歌语言口语化极力追求。这种实践与探索呈现出明显的非诗化特征,存在着许多认识和探索的误区,需要引起我们高度警惕与反思。＂ Folk writing＂ was an important branch that can not be ignored in the mainland poetry writing in 1990s, which is of high significance in the diversification and exploration of Chinese Neo-poem. There were three prominent writing features in the poetic creation and exploration at that time： seeking individual writing position with absolute independence and freedom, drawing materials from the secular life and pursuing plain, simple words and sentences from daily oral language as their poetic language. This kind of practice and explora- tion presents distinct non-poetic features. There also exist some misunderstandings both in cognition and explo- ration, which calls for our active vigilance and profound consideration.

关 键 词：90年代诗歌 “民间写作” 诗学特征 探索的歧路 

分 类 号：I207.22[文学—中国文学]