基于音顿理论的中国新诗节奏系统论  

On the Rhythm System of Chinese New Poetry Based on the Syllable-pause Theory

作　　者：许霆 XU Ting(School of Humanities, Changshu Institute of Technology, Changshu 215500, China)

机构地区：[1]常熟理工学院人文学院,江苏常熟215500

出　　处：《常熟理工学院学报》2017年第1期16-24,34,共10页Journal of Changshu Institute of Technology

基　　金：国家社科基金后期资助项目“中国新诗韵律节奏论”(13FZW074)

摘　　要：独体单音的汉语每字高低、长短和轻重差异并不明显，这一特征规定了汉诗以音节组合的“时长”为基本节奏单元，汉诗属于音顿而非音步节奏体系。诗人在长期创作中基于音顿理论，探索了音顿、意顿和行顿三种基本节奏单元，并在此基础上形成了三种新诗节奏体系，其中音顿节奏是形式化的，意顿节奏是口语化的，行顿节奏是自由化的。前两种节奏体系一般来说为格律体新诗所用，后一种节奏体系一般来说为自由体新诗所用，三种节奏体系构建起中国新诗的韵律节奏系统。There are not obvious differences in the height, length and weight of each word with the single tone.These characteristics stipulate that Chinese poetry takes the syllable combination of“time length”as the basic unit, and that the poetry belongs to the syllable-pause system rather than the sound foot rhythm system. In their long creation, poets have explored the three basic rhythm units of the syllable pause, semantic pause and line pause based on the syllable-pause theory, and accordingly have established the three rhythm systems of the new poetry, in which the syllable-pause rhythm is formalized, the semantic pause rhythm is colloquialized and the line-pause rhythm is liberalized. Generally speaking, the first two rhythm systems are adopted by the new metrical poetry, while the third rhythm system is adopted by the new free poetry. These three rhythm systems construct the rhythm system of Chinese new poetry.

关 键 词：新诗 节奏 音顿 

分 类 号：I207.21[文学—中国文学]