史彭德诗论及其在1940年代中国诗坛的引进与影响  

Stephen Spender’s Theory and Its Introduction to and Influence on Chinese Poetry Circle in 1940s

作　　者：白洋本 Bai Yangben

机构地区：[1]山东大学(威海)文化传播学院,山东威海264209

出　　处：《河南大学学报（社会科学版）》2022年第6期96-100,155,共6页Journal of Henan University(Social Sciences）

摘　　要：史彭德的诗论在1940年代经袁水拍、陈敬容和袁可嘉等人大量翻译而传入中国并产生影响。史彭德将他所处的时代定义为反人性的“机器时代”,寄希望于诗歌能将现代经验“融合”进“诗感性底部分”,以重建现实的象征意义。这既是诗歌以“感性”革新对“机器时代”的反抗,也是诗歌追求“现代性”的过程。一方面史彭德的诗论激起阿垅、袁水拍和陈敬容关于诗与社会(时代)关系的不同回应,另一方面他的“现代性”相关理论也呼应袁可嘉“新诗现代化”中的“综合”等关键概念。这些影响既反映了史彭德诗论在中国传播时产生的差异化轨迹,也反映了1940年代中国诗坛在引进史彭德诗论时的复杂情况和内部张力。When it comes to the Western origins of modern Chinese poetry in the 1940s,the influence of T.S.Eliot and W.H.Auden tends to receive greater interest among scholars compared with that of Stephen Spender.In fact,Spender’s theory was introduced to China in the 1940s through massive translation by Yuan Shuipai,Chen Jingrong and Yuan Kejia before exerting its influence on a larger scale.Spender defined his time as an anti-human “machine age” and pinned his hope on “incorporating” modern experience into the “sensual part of poetry” to reconstruct the symbolic meaning of reality.This represents not only a revolt of poetry against the “machine age” ,but also a pursuit of “modernity” in poetics.Spender’s theory provokes different responses from Yuan Shuipai,A Long and Chen Jingrong to the relationship between poetry and society(the times),and his theory on “modernity” echoes Yuan Kejia’s key concepts of “synthesis” in his theory of “The modernization of new poetry”.

关 键 词：史彭德 感性 现代性 袁水拍 袁可嘉 

分 类 号：I052[文学—文学理论]