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二十世纪三十年代以戴望舒为代表的中国“现代派”诗人的创作中生成了一些具有典型意义的意象、思绪、心态以及艺术化的“姿态”。这使诗人们的诗歌以其艺术形式内化了心灵体验和文化内涵,从而把诗人所体验到的社会历史内容以及所构想的乌托邦远景通过审美的视角和形式的中介投射到诗歌语境中,使现代派诗人心灵的主体性获得了形式的审美性的支撑。诗人们在诗中呈现出的诸种“姿态”正兼具“心灵”与“形式”的双重意义。本文选择了“独语”和“问询”作为切入现代派诗人艺术姿态的具体视角,辨析“姿态”中“有意味的形式”和“形式化的内容”的统一,最终试图揭示现代派诗人的艺术姿态背后所隐藏的“深沉的意义”。
In the 1930s, Dai Wangshu represented the Chinese “Modernist ” poets in the creation of some of the typical significance of the image, thoughts, mentality and artistic “gesture ”. This makes the poets’ poetry internalize the spiritual experience and cultural connotation in the form of art, so that the poet’s social and historical contents as well as the conceived utopian vision are projected into the poetic context through the aesthetic perspectives and formal intermediaries, So that the subjective nature of modernist poets get the form of aesthetic support. The various “gestures” exhibited by the poets in the poem are simultaneously dual meanings of “mind” and “form”. This paper chooses “Du Yu ” and “Querying ” as the specific perspective of cutting into the artistic attitude of modernist poets and distinguishes the formalized contents of “Intentional Forms ” and Finally, it attempts to reveal the “deep meaning” behind the artistic gestures of the modernist poets.