论“歌谣体”新诗在左翼文学中的发生与嬗变  

The Occurrence and Evolution of “New Ballad Style”Poetry in the Left-wing Literature

作　　者：李瑞华[1] 

机构地区：[1]首都师范大学文学院,北京100089

出　　处：《南京师范大学文学院学报》2016年第1期50-55,共6页Journal of School of Chinese Language and Culture Nanjing Normal University

基　　金：2012年度国家社会科学基金项目:20世纪40年代中国左翼文学创作研究"(编号:12BZW087)

摘　　要："歌谣体"作为歌谣入诗的一种新诗实践,在五四文学革命中丰富了诗歌的表现形式,也契合了启蒙主体"平民化"的时代需求。三十年代左翼诗歌团体中国诗歌会倡导的"新诗歌谣化",进一步把新兴的阶级话语和歌谣体这一传统形式相结合,四十年代在左翼主流话语的建构下,"歌谣体"新诗渐趋圆熟,并出现了以《王贵与李香香》为代表的典范之作。现代文学历程中"歌谣体"在新诗建构和发展过程中的嬗变,体现出左翼文学"场域"对文学话语形式的决定作用,同时"歌谣体"新诗的审美性特质也在某种程度上受到意识形态的制约和影响。As a new practice in poetry,＂ballad style＂enriched the expression form of poetry in the May4 thliterature revolution and fit the demand of enlightenment ＂plebification＂at that time. In 1930 s,the Left-wing literary group Chinese Poetry Society advocated the ＂ballad style for new poems＂,further combining the discourse of rising class with the traditional form of ballad. Under the construction of the left- wing mainstream discourse,the new ballad poetry gradually matured in the 1940 s,and created its typical sample Wang Gui and Li Xiangxiang. The evolution of ballad style in the construction and development of modern new poetry manifests the decisive function of left- wing literature＇s ＂field domain＂on the form of literary discourse,and the aesthetic feature of the ＂new ballad＂poetry has also been restricted and affected by the ideology.

关 键 词：歌谣 左翼 大众化 民族形式 

分 类 号：I206.6[文学—中国文学]