作为民主文化的中国现代主义——重识袁可嘉的新诗现代化理论  

China’s Modernism as Democratic Culture:Rediscovering Yuan Kejia’s Theory on Modernization of New Poetry

作　　者：王东东 WANG Dongdong(School of Culture and Communication,Shandong University,Weihai Shandong 264209)

机构地区：[1]山东大学文化传播学院,山东威海264209

出　　处：《江汉学术》2022年第5期84-91,共8页JIANGHAN ACADEMIC

基　　金：国家社科基金一般项目“新文化运动以来的汉语译诗与译者写诗研究”(19BZW131)。

摘　　要：在袁可嘉1940年代的“新诗现代化”理论中,存在着民主话语和现代主义诗歌话语的二重奏和“话语协商”,并最终形成了一种独特的追求民主的中国现代主义。与占据主流的左翼民主诗歌不同,袁可嘉提出了民主文化的概念,作为连接诗歌话语与民主话语的中介。他认为民主文化比民主政治范围更广且更有价值,因而建议从对民主政治的热衷转向对民主文化的培养。在袁可嘉看来,民主的诗歌抑或作为民主文化的诗歌也需要现代主义的“难度”设计。然而,“晦涩”的问题与现代主义相伴始终;在政治民主被缩减和替换为文化民主时,“民主文化”本身也可能不得不是“晦涩”的。民主文化构成了中国现代主义诗歌的一种被遗忘的文化身份,而“晦涩”则是这种关联民主与诗歌的另类方式的文化命运。In the 1940s,there was a duo of democratic discourse and modernist poetic discourse as well as“discourse negotiation”in Yuan Kejia’s theory on the modernization of New Poetry. They finally converged into a unique Chinese modernism in pursuit of democracy. Different from the dominant mainstream Leftwing democratic poetry,Yuan proposed the concept of democratic culture as an intermediary between poetic discourse and democratic discourse. In his mind,democratic culture,covering a wider range than democratic politics,is more valuable. Hence,he advocated a shift from enthusiasm in democratic politics to the cultivation of a democratic culture. In Yuan’s view,democratic poetry,even if it was the poetry of democratic culture,needed the“difficulty”device of modernism. Yet,the“obscurity”problem has always accompanied modernism;when political democracy was reduced and replaced by cultural democracy,“democratic culture”itself had also to be“obscure.”Democratic culture has constituted a cultural identity,often forgotten,of Chinese modernist poetry,and“obscurity,”as an offbeat way to connect democracy and poetry,is also a cultural destiny.

关 键 词：袁可嘉 穆旦 新诗现代化 晦涩 民主文化 现代主义 

分 类 号：I207.25[文学—中国文学]