从创造社到我们社:诗性“自我”的承诺与疏离  

From Chuang Zao She to Wo Men She:The Commitment and Alienation of the Poetic Concept of "Oneself"

作　　者：黄雪敏[1] 

机构地区：[1]华南师范大学南海学院中文系

出　　处：《中国社会科学院研究生院学报》2013年第1期101-106,共6页Journal of Graduate School of Chinese Academy of Social Sciences

基　　金：2011年国家社科基金项目课题阶段性成果,项目编号:11BZW098

摘　　要：＂自我＂的诗学观念是现代新诗的一个重要话题。郭沫若在《女神》中塑造的＂自我＂形象,为新诗的言说确立了话语据点。它一方面指向对旧制度、旧世界、旧我的否定,一方面又试图建立起一种全新的抒情原则,拓宽了＂自我＂的领域和新诗的话语空间,并通过诗歌美学的革命,体现了＂自我解放＂和＂艺术创新＂的强大动力,达到个人解放与社会革命的统一。从创造社到我们社的诗歌创作,典型地反映了新诗在追求＂现代性＂过程中陷入的＂自我迷思＂。这不仅仅是新诗自身美学范畴的难题,它更呈现了新诗在社会、历史、文化语境中的困境。The poetic concept of ＂oneself＂ is an important topic in the new poems.The image of ＂oneself＂ in Goddess of Guo Moruo establishes a discourse stronghold for the language in the new poems.On one hand,it aimed to deny the ancient regime,old world and ＂old myself＂;on the other hand,it established a kind of completely new principle to express feelings,and broadened oneself domain and poetry space.By aesthetic poetry revolution,it embodies the power of ＂Emancipation＂ and ＂artistic innovation＂,and achieves personal liberation and social revolutionary unity.The poetry creation from Chuang Zao She to Wo Men She typically showed that the new poetry lost its way in pursuing modernization.This is a not only a problem for the new poetry itself in esthetic category,but also presents a dilemma the new poetry faced in the society,history and culture.

关 键 词：创造社 我们社 自我 新诗 

分 类 号：I207.25[文学—中国文学]