“十七年”批评话语与诗歌语体的嬗变  

Critical Discourse and Poetry Language Evolution in the " Seventeen Years"

作　　者：曹霞[1] 

机构地区：[1]南开大学汉语言文化学院,天津300071

出　　处：《井冈山大学学报（社会科学版）》2015年第3期109-116,共8页Journal of Jinggangshan University(Social Sciences)

基　　金：国家社科基金项目"‘十七年’文学评论与社会主义意识形态的建构研究"(项目编号:12CZW075)

摘　　要：在"十七年",诗歌语言发生了巨大的嬗变,这不仅是时代和政治推动的结果,也是诗歌理论批评实践的结果。五十年代初,批评家关于古典话语与现代诗融合的理论探讨还保有一定的个性化空间,随着政治风潮的纷至沓来,批评家建构起了与时代语境相契合的阶级批评话语,"光明语体"成为诗歌创作的主流。五十年代末,在"两结合"的批评原则下,"民间话语"(新民歌)在新诗中得到了扩张,诗歌语言不断地简化和政治化。在"政治/批评"的双重规约下,"十七年"诗歌语言的艺术凝练性与诗意涵括力日趋减弱。In the first seventeen years of the People＇s Republic age, Chinese poetry language underwent drastic changes. This is not result only from time and political motivation, but also from poetical criticism. Though in early 1950s the critics kept some individualistic universe of discourse in their theoretical attempt to integrate classical discourse and modern poetry, they soon constructed a time-matching system of class-based critical discourse as reaction to the successions of political movements. Then the＂ bright genre＂ had been the mainstream of poetry writing. In late 1950s, the ＂ folk discourse＂ （ new folk songs） was extended to new poem writings under the guiding criticism principle of ＂ integrating two respects＂ , and the poetry language experienced constant simplification and politicalization. Limited by the regulations of ＂politics/criticism＂ , poetry languages used in the ＂ seventeen years＂ showed less and less artistic conciseness and poetic abundance.

关 键 词：“十七年” 批评话语 诗歌语体 政治化 

分 类 号：I206.7[文学—中国文学]