作　　者： ;

机构地区： 清华大学人文社会科学学院中文系

出　　处： 《文艺研究》 2005年第8期43-47,共5页

摘　　要： 本文以卢卡契等关于“历史与形式”的理论为前提,论述了20世纪新诗的艺术形式、技巧演变与社会、历史的种种关联。本文通过考察白话诗、新诗、新月派、现代派、九叶派、朦胧诗、后朦胧诗、以及90年代以来诸多流派与群落在形式、技巧方面的主要特征及其演进,说明了新诗中意识形态的真正承担者是作品本身的形式,而不是可以抽象出来的内容,并认为这不仅有助于新诗乃至文学的内核性问题的进一步探索。 Based on Lucacs’theory on “history and form,” this paper tries to discuss the evolution of the artistic forms and techniques of 20th century New Poetry and its connections with society and history. Included in the discussion are Vernacular Poetry, New Poetry, `the Crescents, the Moderns, the Nine Leaves, the Obscurants, the Post-Obscurants, and the schools and communities since the 1990s whose revolutions in poetic forms and techniques vividly testify that the real bearer of ideology in New Poetry is the form itself, not the content abstracted from it. This is conducive to not only the New Poetry but to the further exploration of some core problems in contemporary literature as well.

关 键 词： 新诗 社会 历史 意识形态 语言意识 文本意识 修辞意识 中国 文学研究

领　　域： [文学]