星空下的女神侧影:郭沫若“《女神》时期”再探  

Goddess Sidelights under the Starry Sky:A Re-Examination of Guo Moruo’s The Goddess Period

作　　者：李冬旭 LI Dong-xu(School of Chinese Language and Literature,Beijing Normal University,Beijing 100875,China)

机构地区：[1]北京师范大学文学院,北京100875

出　　处：《山东青年政治学院学报》2024年第5期102-109,共8页Journal of Shandong Youth University of Political Science

摘　　要：以往学界对郭沫若“《女神》时期”的创作进行探究时,多以《女神》为研究核心而忽略了同样属于这一创作时段的《星空》。郭沫若“《女神》时期”的创作应当由《女神》、佚诗以及《星空》三部分组成,这个时期内的创作也显现出作家关于新诗人与旧体诗/剧作家与诗作者这两组身份的建构。同时,闻一多对郭沫若关于“地方色彩”的批评也同样值得商榷,沿着“新人-新诗-地方的新诗”的路径我们可以探寻到郭沫若如何从中西交融的新诗通达具有更多“地方色彩”的“地方的新诗”。In previous studies of Guo Moruo’s creations during The Goddess period,research has predominantly focused on The Goddess and often overlooked The Starry Sky,which also belongs to this creative phase.Guo Moruo’s work from this period should be considered as comprising three parts:The Goddess,Unknown Poems,and The Starry Sky.This period of creation also highlights the writer's exploration of identities as both a new poet and an old-style poet/playwright.Additionally,Wen Yiduo’s critique of Guo Moruo’s use of“local color”is also subject to reconsideration.By examining the trajectory of“New Man—New Poetry—Local New Poetry,”this study explores how Guo Moruo transitioned from blending Eastern and Western styles in new poetry to incorporating more distinct“local colors”in his regional poetry.

关 键 词：“《女神》时期” 《女神》 佚诗 《星空》 地方色彩 

分 类 号：I206.6[文学—中国文学]