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1930年代是中国新诗的黄金时代,现实主义与现代主义两条诗歌流脉,分别由以殷夫为前驱、蒲风为代表的“左联”作家和以戴望舒、卞之琳领衔的“现代诗派”承载,各自取得了空前的发展。对这一时期诗歌的研究近些年已成为诗评界的热点话题。只是由于“诗歌回到本体”研究思路的被推崇,使现代主义诗歌倍受宠爱,而对意识形态色彩浓郁的左翼诗歌研究则相对冷清。这种研究格局形成的结果,是使评论空间日益狭窄化;并且对现代主义诗歌的研究也难有新质上的突破。
The 1930s is the golden age of Chinese new poetry. The two poems of realism and modernism flow through the “Leftist” writers represented by Yin Fu and Pufeng as well as the modernist writers headed by Dai Wangshu and Bian Zhilin Poetic school “bearing, have achieved unprecedented development. The research of poetry in this period has become a hot topic in poetry critics circles in recent years. It is only because of the admiration of the research ideas that ”poetry back to noumenon" has made modernist poetry much favored, while the research on the left-wing poetry with rich ideological colors is relatively deserted. The result of this kind of research pattern is to make narrative space narrower day by day; and there is no breakthrough in the study of modernist poetry.