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作 者:施云 萧宝凤 Shi Yun;Xiao Baofeng(Zhejiang Vacational Academy of Art;Macao University of Science and Technology,Macao,China)
机构地区:[1]浙江艺术职业学院基础教学部 [2]澳门科技大学国际学院,中国澳门
出 处:《写作》2025年第2期66-77,96,共13页Writing
基 金:浙江艺术职业学院2022年度民间文艺主题研究项目“浙江诗路文化的现代性研究——以郁达夫为例”(项目编号:ZX202203001)。
摘 要:郁达夫的文学生涯开始并终结于旧体诗,他自称“骸骨迷恋者”却并未在生前将这些作品结辑出版。旧体诗,这种发自其本能的“性情最适宜”的表达亦局部屈从于现代散文、日记、书信等创作,形成了“诗文互注”和“诗注互文”的美学效应,在新文学语境中成为其情感表达与人格展演的重要载体,并不断伸张“五四”及“后五四”时期抒情现代性的空间。通过对《钓台题壁》及相关散文的分析,揭示诗文互注现象背后新旧文体的辩证关系,说明郁达夫如何在旧体诗中吐纳现代抒情。同时,以《毁家诗记》为例,探讨旧体诗与现代白话注文的互文性,以及其中体现的分裂美学与“弱德”伦理。郁达夫的旧体诗不仅是其情感与人格的投射,更反映了新旧文体在现代文学转型中的复杂互动,以及“弱德”美学在现代文学中的延续与演变。Yu Dafu’s literary career began and ended with old-style poetry,and he called himself“the lover of bones”but did not compile and publish these works during his lifetime.The old-style poetry,which originates from his instinctive expression of“the most suitable disposition”,partially yields to the creation of modern prose,diary and letters.This has formed the aesthetic effects of“mutual annotation between poetry and prose”and“mutual textuality between poetry notes”.In the context of new literature,it has become an important carrier for his emotional expression and personality display,and constantly expands the space lyric modernity in the“May 4th”and“post-May 4th”periods.This essay reveals the dialectical relationship between the new and old styles of literature the analysis of Diao Tai Ti Bi and related prose,and how Yu Dafu breathes modern lyricism into his old-style poetry.At the time,taking Hui Jia Shi Ji as an example,it explores the intertextuality between old-style poetry and modern vernacular annotation as well as the aesthetics of fragmentation and“passive virtue”ethics embodied in it.Yu Dafu's oldstyle poetry is not only a projection of emotions and personality,but also reflects the complex interaction between new and old styles of literature in the transformation of modern literature,and the continuation and evolution of the aesthetics of“passive virtue”in modern literature.
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