“从古典和谐走向近代崇高”——郭沫若的诗美学范畴及其历史美学逻辑论析  

From Classical Harmony to Modern Loftiness——An Investigative Analysis of the Aesthetic Category of Guo Moruo's Poetry and its Logic of Historical Aesthetics

作　　者：程国君[1] 吴亚娟[1] 

机构地区：[1]陕西师范大学文学院,陕西西安710062

出　　处：《陕西师范大学学报（哲学社会科学版）》2013年第5期84-90,共7页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：教育部人文社会科学研究西部规划项目(09XJA751004)

摘　　要：与鲁迅给现代新文学带来的悲剧性审美体验不同,郭沫若给中国现代新文学与新诗带来了崇高的审美体验。崇高在近现代的凸显是人类走向更高文明状态的表现。在新诗美学史上,郭沫若的诗学贡献和开拓性就表现在其诗展现的崇高美的美学范畴上。郭沫若的"雄浑的大诗"凸显的崇高美学范畴,标志着中国文学由"古典和谐走向近代崇高"的美学转向的成功实现。郭沫若引领的这种美学转向具有深刻的历史美学逻辑。这种逻辑决定的诗美发展路向的拓展,使《女神》成了中国现代诗歌史上第一部真正的诗歌正典,也影响了诸如殷夫的政治抒情诗、《义勇军进行曲》等其他一些新诗正典的美学取向。弄清郭沫若的诗美范畴、个性及其美学逻辑,对于认识新诗及其审美创造、对于纠正在《女神》理解上的错位现象具有重要理论价值。Loftiness has been singled out in modern times as an expression of human beings advancing to a higher realm of civilization. In the history of new poetic aesthetics, Guo Moruo contributed to and pioneered in po- etics by expressing lofty beauty in his poems. Different from Lu Xun who introduced tragic aesthetic experience to new literature, Guo brought lofty aesthetic experience to new literature and poetry. His view of writing ＂grand pow- erful poems＂ projected a lofty aesthetic category, marking Chinese literature＇ s successful turn ＂from classic harmo- ny to modem loftiness＂. Guo＇ s aesthetic turn contained a deep historical aesthetic logic, which determined the ex- tension of direction of development of poetic aesthetics. With The Goddess established as the first standard classic in the history of Chinese modern poetry, Guo＇ s aesthetic attitude influenced the aesthetic orientation of other new poetic classics. Thus a proper understanding of this aesthetic fact is of important theoretical value to understanding new poetry and its aesthetic innovation and correcting the misplacement in understanding of The Goddess.

关 键 词：郭沫若 崇高美 美学范畴 历史美学逻辑 新诗正典 

分 类 号：I207.22[文学—中国文学]