摘要
诗乐关系的现代重构关涉着中国新诗的发展。纵观20世纪之前的中西诗学理论,诗乐关系的研究实际上已涉及艺术间、语言与诗意三个维度。依此三重维度去分析中国新诗诗学的发展历程就会发现:在“破坏时期”,“诗合乐”与“诗脱乐”两种诗学观念看似悖立,实则是维度上的错位,“合乐”意指合诗歌之外的乐曲,而“脱乐”则是脱诗体内蕴的“音乐性”,两者是社会变革时代两种诗体革命策略。而在“建设时期”,诗人学者力求在“诗外脱乐”而在“诗内合乐”,并在“诗内合乐”的重构中,呈现出从单纯的格律雕琢到诗意统领语言的转变,体现了中国新诗诗学的现代化与哲学化思维转向。
The change of the relationship between poetry and music in modern China is related to the development of new Chinese poetry.In this article the discussion of the relationship between poetry and music in China have been summarized to three dimensions since the beginning of 20th century:First,the conversation between poetry and music;second,the pursuit of musicality in poetic language;and third,the infinite extension of poetic contexts.If we analyze the development of the poetics of new Chinese poetry along these three dimensions,it is not difficult to find that during the“period of destruction”,the poetic theory advocated that poems must be sung with music was not actually opposed to the other.In the“construction period”,poets strive to separate music and poetry.At the same time,they explore the construction of musicality in the poem with two approaches,which reflects the modernization and philosophical thinking of Chinese poets.
出处
《中国比较文学》
CSSCI
北大核心
2023年第4期190-207,共18页
Comparative Literature in China
关键词
诗乐关系
新诗
合乐
脱乐
音乐性
relationship between poetry and music
new poetry
fusion
separation
musicality
作者简介
卓睿,复旦大学文学博士,上海师范大学教育学院师资博士后。研究方向:跨文化与艺术研究、比较诗学。电子邮箱:zhuorui66@shnu.edu.cn。
