袁可嘉“综合”诗论的西方渊源  

The Western Origin of“Synthesis”in Yuan Kejia's Poetics

作　　者：白洋本 Bai Yangben(School of Culture&Communication,Shandong University(Weihai))

机构地区：[1]山东大学文化传播学院,山东省威海市264209

出　　处：《文艺理论研究》2024年第2期83-92,共10页Theoretical Studies in Literature and Art

基　　金：山东大学(威海)教学研究与教学改革项目“‘交叉与融合’:外国文学课程中的‘中国问题’与‘域外资源’”[项目编号:Y2023010]的阶段性成果。

摘　　要：“综合”是袁可嘉在20世纪40年代提出的“新诗现代化”诗论中的关键策略。关于“综合”的西方渊源,研究者往往关注艾略特和瑞恰兹的影响,却忽略了史彭德,而后者是袁可嘉“综合”诗论的关键来源。首先,袁可嘉所述英国现代诗呈现从“分析到综合”(从“自嘲嘲人到怜悯”)的特征,其中的“综合”和“怜悯”皆可追溯至史彭德的诗歌和理论;其次,不同于艾略特和瑞恰兹切断艺术与生活的渗透关系,史彭德“融合”意识、经验与客观现实的“诗的社会化”理论,经由袁水拍等人的译介进入中国,启发袁可嘉将“现实”列为“综合”的重要部分;最后,袁可嘉在同时代人译介的激励下翻译史彭德的“现代性”诗论,并于20世纪80年代经由卡林内斯库的理论再次激活而成为袁可嘉诗论的核心。袁可嘉对左翼诗人史彭德诗论的借鉴,体现了京派知识圈中的青年知识分子在战时背景下的姿态调整和文学坚守。“Synthesis”emerged as a pivotal approach in Yuan Kejia's proposal of“modernizing Chinese new poetry”in the 1940s.While scholars often credit the influence of T.S.Eliot and I.A.Richards in the Western origins of“synthesis,”the significant impact of Stephen Spender is sometimes underestimated.Firstly,Yuan Kejia depicted the characteristics of modern British poetry as a progression“from analysis to synthesis”(“from self-deprecating mockery to pity”),with both“synthesis”and“pity”finding roots in Spender's theory.Secondly,in contrast to Eliot and Richards,who severed the connection between art and life,Spender's notion of“fusing”ideas,experiences and objective reality into a single line or image greatly influenced Yuan Kejia's inclusion of“reality”as a pivotal component of“synthesis.”Finally,contemporary translations allowed Yuan Kejia to convey Spender's modernity theory in the 1940s,a concept reinvigorated in the 1980s through Calinescu's scholarship.Yuan Kejia's embrace of the Spender's left-wing poetics exemplifies his literary adaptability and resilience within the intellectual circle of wartime Beijing.

关 键 词：袁可嘉 史彭德 综合 现代性 

分 类 号：I207.25[文学—中国文学]