从“朦胧”说起:新诗“晦涩”审美价值观的诗学辨识  

Starting from“Haziness”:Poetics Identification of“Obscure”Aesthetic Values in New Poetry

作　　者：柴华[1] 尤丽洵[1] Chai Hua;You Lixun(Heihe University,Heihe 164300,China)

机构地区：[1]黑河学院,黑龙江黑河164300

出　　处：《黑河学院学报》2022年第9期124-127,共4页Journal of Heihe University

基　　金：黑龙江省哲学社会科学研究规划项目“汉语新诗集序跋(1917—1949)与新诗文学场的建构”(18ZWB195)。

摘　　要：20世纪上半叶,“晦涩”作为新诗的审美价值观,其诗学内涵是立足新诗本体并伴随新诗现代化探索而逐步彰显的。“朦胧”作为一种新的诗歌审美观念,初显于李金发诗歌的“别开生面”;在从“朦胧”到“晦涩”的诗学论争中,穆木天倡导“纯诗”空间,赋予“晦涩”以本体意味的审美价值认同;及至袁可嘉取法西方现代主义诗歌观念,在中国新诗现代化的诗学框架内辨析新诗“晦涩”成因,“晦涩”作为审美价值观的现代内涵更加明晰,成为确认新诗现代精神与艺术价值的审美尺度。In the fi rst half of the 20th century,the poetic connotation of“obscurity”,which is viewed as the aesthetic value of new poetry and based on the noumenon of new poetry,gets gradually manifested along with the exploration on new poetry modernization.As a new aesthetic concept of poetry,“haziness”fi rst appears in Li Jinfa’s poetry“Breaking Fresh Ground”.In the poetic debate from“haziness”to“obscurity”,Mu Mutian advocates the space of“pure poetry”and endowed“haziness”with aesthetic value identifi cation in the sense of Ontology.Until Yuan Kejia analyzes,by adopting poetry concept of western modernist,causes of“obscurity”within modern poetic framework of new poetry,“obscurity”becomes clearer as the modern connotation of aesthetic values,and becomes the aesthetic yardstick to confi rm modern spirit and artistic value of new poetry.

关 键 词：诗本体 晦涩 审美价值 新诗现代化 

分 类 号：I207.25[文学—中国文学]