现代汉语人称代词与中国现代诗歌  

Modern Chinese Personal Pronouns and Chinese Modern Poetry

作　　者：王泽龙[1] 倪贝贝[1] 

机构地区：[1]华中师范大学文学院,湖北武汉430079

出　　处：《华中师范大学学报（人文社会科学版）》2016年第1期80-88,共9页Journal of Central China Normal University:Humanities and Social Sciences

基　　金：教育部人文社会科学研究青年基金项目"中国现代诗歌节奏形式比较研究"(13YJC751059);华中师范大学中央高校基本科研业务费专项资金"中国新诗节奏生成机制与建构理论及技巧研究"(CCNU15A06137)

摘　　要：现代汉语人称代词大量进入现代诗歌,是现代自由体诗歌区别于古代格律诗歌的一个突出标志。人称代词从古代格律诗歌到现代自由体诗歌由隐到显的模式转变,与特定历史语境相关,大量现代人称代词的入诗是近代以来民主与科学思潮的产物。诗人对不同人称代词的取舍,反映出人称意识、体物视角、言说方式、诗意建构的差异性。现代汉语人称代词的大量入诗与多样化表现,打破了古代格律诗歌长期以来隐藏主体或主体缺位的含混状态,使现代诗歌的内涵趋于多义且具有了多重发声的可能性,对现代诗歌的句法、诗体结构及音节节奏等一系列形式变革带来了重要影响。The great influx of modern Chinese personal pronouns into modern poetry is a prominent symbol differentiating modern free verse poetry from classic poetry in ancient times.The model transformation of personal pronouns from implicity to explicitness has close relation to specific historical context.A large number of personal pronouns appearing in modern poetry is the product of the ideological trend of democracy and science in modern times.The poet＇s choice of different personal pronouns reflects the differences in the aspects as：the consciousness of person,the perspective of body and things,the way of expression and the construction of poetic sentiment.The pouring of personal pronouns in modern poetry and its diversified performance break through the ambiguous state which the subject is hidden or the subject is omitted in classical poetry for a long time,leading to the possibility of various connotations of modern poetry with multiple voices and bringing a series of significant impact on poetic forms,such as syntax,poetic structure and syllable rhythm.

关 键 词：现代诗歌 人称代词 人称意识 言说方式 诗体形式 

分 类 号：I207.25[文学—中国文学]