郭沫若《女神》:“真艺术与真科学本是携手进行的”  

GUO Moruo's Goddess:"True Art and True Science Go Hand in Hand"

作　　者：文贵良[1] WEN Gui-liang(Department of Chinese Language and Literature,East China Normal University,Shanghai 200241,China)

机构地区：[1]华东师范大学中国语言文学系,上海200241

出　　处：《山西大学学报（哲学社会科学版）》2023年第4期95-102,共8页Journal of Shanxi University(Philosophy and Social Science Edition)

基　　金：国家社科基金重大项目“文学视野中中国近现代时期汉语发展的资料整理与研究”(16ZDA185)。

摘　　要：现代汉语诗学与古代汉语诗学的不同之一就在于将科学元素融入了现代汉语诗学中。这一特点在郭沫若《女神》中非常显眼而且先锋,闻一多将其概括为“真艺术与真科学本是携手进行的”。由此拓展则发现,《女神》对大量地名和人名的铺展,是在空间上进行的诗性延展;将科学元素纳入艺术思维中,因而具有了一种世界性意义和宇宙意识;将科学上的能量概念、物质形成过程等转化成了艺术思维,并由歌颂机械力的强大将“力”转化成了美学特质。就文学作品而言,《女神》不是“真科学”将“真艺术”科学化,而是“真艺术”将“真科学”艺术化,这一可称为“科学构形”的过程和形态造成了诗歌的新的艺术品性。One of the differences between modern Chinese poetics and ancient Chinese poetics is the integration of scientific elements into modern Chinese poetics.This characteristic is very prominent and avant-garde in GUO Moruo's Goddess,and Wen Yiduo summarized it as"true art and true science go hand in hand".Through expan-sion it is found that the presentation of a large number of place names and human names in Goddess is a poetic ex-tension in space;Incorporating scientific elements into artistic thinking,thus possessing a global significance and u-niversal consciousness;Such scientific concepts as energy and material formation processes are converted into artis-tic thinking,and the"force"is transformed into aesthetic traits by praising mechanical force.In terms of literary works,Goddess is not about"true science"turning"true art"into science,but about"true art"turning"true sci-ence"into art.This process and form which can be called"scientific configuration"have resulted in a new artistic quality in poetry.

关 键 词：郭沫若 《女神》 艺术 科学 

分 类 号：I207.25[文学—中国文学]