历史的锤与钉:新诗的年代学与凯洛斯  

Hammer and Nail of History:The Chronology of New Poetry and Kairos

作　　者：王东东 WANG Dong-dong(College of Culture and Communication,Shandong University,Weihai,Shandong,264209)

机构地区：[1]山东大学文化传播学院,山东威海264209

出　　处：《韩山师范学院学报》2024年第5期2-11,共10页Journal of Hanshan Normal University

基　　金：国家社科基金重大项目(项目编号:20&ZD284)。

摘　　要：在文学史书写和时间观的双重意义上,九十年代诗歌都是值得反思的。以往文学史叙述和批评中,可能过分强调了九十年代诗歌相对于八十年代诗歌的异质性,而忽视了二者的联系。事实上,九十年代文学导源于对八十年代文学的延续、否定与反叛。在某种程度上,1990年代后期或晚期的诗歌已成为感官主义和享乐主义的同义语。我们需要向过去回溯,才能成为真正的当代人,也即世纪的同时代人。现在不仅是由无数复数的过去的合力融汇而成,更应该是过去和未来的交汇之点。而未来则保证了诗歌成为历史的完美通道,不仅召唤不同历史阶段、时代与过去的潜能,更从未来获取革新的力量。由此,未来诗学可以将当代人从时间的囚笼中解放出来,并在诗歌中重获存在的永恒性。In the dual sense of literary history writing and temporal perspectives,the poetry of the 1990s deserves reflection.In previous literary history narratives and criticisms,we may have overly emphasized the heterogeneity of the poetry of the 1990s compared to that of the 1980s,while neglecting the connections between them.In fact,the literature of the 1990s originated from the continuation,negation,and rebellion against the literature of the 1980s.To some extent,the poetry of the late 1990s has become synonymous with sensualism and hedonism.We need to look back at the past to become true contemporaries,i.e.,contemporaries of the century.The present is not only the confluence of numerous plural pasts but also the intersection of the past and the future.The future ensures that poetry becomes a perfect passage through history,not only summoning the potential of different historical stages,times,and the past,but also acquiring innovative power from the future.Thus,future poetics can liberate contemporaries from the prison of time and regain the eternity of existence in poetry.

关 键 词：新诗 年代学 九十年代诗歌 未来诗学 

分 类 号：I226.1[文学—中国文学]