诞生于都市中的诗人:论1920年代郭沫若诗歌里的城市书写  

The Poet Born in the City:A Study on the City Writing in Guo Moruo’s Poems in the 1920s

作　　者：吴辰[1] Wu Chen

机构地区：[1]海南师范大学文学院

出　　处：《中国社会科学院大学学报》2022年第11期22-32,132,133,共13页Journal of University of Chinese Academy of Social Sciences

摘　　要：城市对郭沫若创作的影响是巨大的,其诗集《女神》诞生于城市文化的语境中,动态地呈现了中国新诗与“现代”接触后的嬗变过程。在郭沫若的诗作中,1920年代的城市文化对其创作的意义并不是一成不变的。在经历了对城市文化的追逐、扬弃、反思后,郭沫若最终选择了重拾理性,并以革命作为理性的呈现方式,从以感官为中心的都市中突围。通过梳理1920年代郭沫若诗歌里的城市书写,能够清晰地看到诗人对“现代”这一范畴的接受与反思,这背后是诗人在城市语境下对人的主体性精神的追寻。在这一过程中,郭沫若开始反思文艺与社会的关系,这成为他接受马克思主义的重要原因。The city has a great influence on Guo Moruo’s creation. His poetry anthology Goddess was born in the context of city culture,which dynamically presents the evolution of Chinese new poetry after the contact with“modernity”. In Guo Moruo’s poems,the significance of city culture in the 1920s was not changeless for his creation. After going through the pursuit,sublation and reflection of city culture,Guo Moruo finally chose to regain the rationality and break through the senses-centered city using revolution as the rational presentation. By sorting out the city writing in Guo Moruo ’s poetry in the 1920s,we can clearly see the poet ’s acceptance and reflection of the category of “modernity”,behind which is the poet’s search for human subjectivity in the city context. In this process,Guo Moruo began to reflect on the relationship between literature and art and society,which became an important reason for his acceptance of Marxism.

关 键 词：郭沫若 《女神》 城市书写 

分 类 号：I207.22[文学—中国文学]