中国象征派新诗“颓废”审美的现代诗学质素——1920—1940年代读者批评综论  

The Quality of Modern Poetics in the“Decadent”Aesthetics of New Chinese Symbolist Poems--A Summary of Readers’Criticism in the 1920s-1940s

作　　者：田源 TIAN Yuan(Sichuan Fine Arts Institute,School of General Education,Chongqing 401331,China)

机构地区：[1]四川美术学院通识学院,重庆401331

出　　处：《北京联合大学学报（人文社会科学版）》2023年第2期60-68,共9页Journal of Beijing Union University(Humanities and Social Sciences)

基　　金：国家社会科学基金青年项目“读者批评与‘颓废’诗学建构研究(1920—1940年代)”(项目编号:19CZW037);巴渝学者计划资助项目。

摘　　要：随着1925年诗集《微雨》的出版,李金发等中国象征派诗人开始为读者所了解,1920年代中后期的文坛掀起了一股象征主义的批评风暴。感官刺激的核心批评话语散见于读者批评的书报文献,崭新的现代诗风暗含“颓废”的审美意识,从1920年代至1940年代,中国读者发掘并且指认“纯诗”“唯美”“刹那”的艺术思潮。读者批评史料的再批评,试图探寻“颓废”与象征主义诗学的现代性关系,辨析朦胧、丑恶、神秘的现代诗学质素。With the publication of the collection of poems Gentle Rain in 1925,Li Jinfa and other Chinese symbolist poets began to be known to readers.In the middle to late 1920s,there was a storm of symbolist criticism in the literary world.The core critical discourse of sensory stimulation can be seen scattered in books and newspapers criticized by readers.The brand new modern poetic style implies a“decadent”aesthetic consciousness.From the 1920s to the 1940s,Chinese readers discovered and identified the thought of“pure poetry,”“aesthetic”and“momentary.”This paper serves as a re-criticism of readers’criticism of historical materials,trying to explore the modernity relationship between the“decadence”and symbolist poetics and to distinguish the obscure,ugly,and mysterious qualities of modern poetics.

关 键 词：象征派 新诗 “颓废” 审美 现代诗学 读者批评 

分 类 号：I207.25[文学—中国文学]