【摘要】：現(xiàn)代女性詩歌的研究一直被學(xué)界忽視,僅有的研究也多為瑣碎零散的個(gè)案研究,女性詩歌創(chuàng)作難以進(jìn)入主流學(xué)術(shù)界的視野,納入文學(xué)史研究的范疇。中國(guó)現(xiàn)代文學(xué)史版本各異,但對(duì)現(xiàn)代女性詩人單獨(dú)列章評(píng)論的幾乎沒有,偶有列為一節(jié)的大都是介紹冰心,其他女性詩人僅在其歸屬的社團(tuán)流派中匆匆提及,諸如后期新月派的林徽因,九葉詩派的鄭敏和陳敬容等�，F(xiàn)代詩歌的三個(gè)十年經(jīng)歷了抗戰(zhàn)這一特殊的歷史時(shí)期,戰(zhàn)爭(zhēng)導(dǎo)致了中國(guó)政治、經(jīng)濟(jì)和文化上的分化,文學(xué)創(chuàng)作伴隨而發(fā)展。時(shí)代的洪流中,女性詩人揭露戰(zhàn)爭(zhēng)的殘酷、百姓的痛苦,懷有必勝的信念。她們?cè)谠姼鑴?chuàng)作中取得突出的成績(jī),可以稱得上現(xiàn)代女性詩歌史上詩藝最為成熟的詩人,她們便是九葉詩人鄭敏和陳敬容。四十年代鄭敏與陳敬容的詩歌創(chuàng)作在現(xiàn)代女性詩歌中最富代表性的。二人同為九葉詩人,四十年代抗戰(zhàn)時(shí)期開始大量詩歌創(chuàng)作,并取得突出成果。學(xué)界對(duì)二人的研究?jī)H停留在個(gè)案的探討,少有將二人整體比較,本論文以四十年代抗戰(zhàn)時(shí)期為時(shí)代背景,分析鄭敏和陳敬容詩歌創(chuàng)作的異同,并借此探尋其折射出現(xiàn)代女性詩歌的嬗變。本論文主體分為三個(gè)部分:第一部分從音韻節(jié)奏,二人對(duì)詩歌格律體與自由體的認(rèn)知與試驗(yàn),雕塑與流動(dòng)的象征意象的選擇和意境的營(yíng)造,逐漸形成了自身獨(dú)特的詩風(fēng)等形式角度著手,梳理闡釋二人分途并進(jìn)的現(xiàn)代詩藝。第二部分主要探究鄭敏與陳敬容詩歌創(chuàng)作中的精神追求,由早期個(gè)體生命吟嘆到家國(guó)處境命運(yùn),進(jìn)而思索體悟人類宇宙的終極命運(yùn)和價(jià)值。第三部分借由對(duì)鄭敏和陳敬容的詩藝特色和精神追求的異同的分析,闡釋她們伴隨著女性文學(xué)的獨(dú)立話語權(quán)和迥異于男性詩人的詩歌創(chuàng)作,對(duì)于九葉詩派的文學(xué)史意義,對(duì)西南聯(lián)大校園詩風(fēng)的發(fā)展和壯大,對(duì)現(xiàn)代主義詩歌的傳承。并揭示其對(duì)于二、三十年代詩歌的繼承與發(fā)展,現(xiàn)代女性詩歌三個(gè)十年的衍變,進(jìn)而探討現(xiàn)代女性詩歌的審美嬗變。
[Abstract]:The study of modern women's poetry has been neglected by the academic circles, and the only studies are mostly trivial and scattered case studies. It is difficult for women's poetry creation to enter the mainstream academic field of vision and be included in the study of literary history. There are different versions of modern Chinese literature, but few have commented on the individual chapters of modern female poets. Occasionally, most of them are introduced to Bing Xin, and other female poets have only hastily mentioned them in the social schools to which they belong. Such as the late New Moon Lin Huiyin, nine-leaf poetry of Zheng Min and Chen Jingrong, and so on. The three decades of modern poetry experienced a special historical period of the War of Resistance against Japan, which led to the political, economic and cultural divisions in China and the development of literary creation. In the flood of the times, female poets exposed the cruelty of war, the suffering of the people, and the conviction of victory. Their outstanding achievements in poetry creation can be regarded as the most mature poets in the history of modern female poetry. They are the poets Zheng Min and Chen Jingrong. Zheng Min and Chen Jingrong's poetry creation in the 1940s is the most representative of modern women's poetry. Both of them were poets of nine leaves. During the War of Resistance against Japan in the 1940s, they began to create a large number of poems and achieved outstanding results. The academic research on the two men only stays on the case study, few of them are compared as a whole. This paper analyzes the similarities and differences between Zheng Min and Chen Jingrong's poetry creation with the anti-Japanese war period in the 1940s as the background of the times. It also explores the evolution of modern women's poetry. The main body of this thesis is divided into three parts: the first part is from the rhythm of rhyme, the cognition and experiment of the two people to the rhythm and free form of poetry, the choice of symbolic image of sculpture and flow, and the creation of artistic conception. Gradually formed their own unique style of poetry and other forms of perspective, combing and explaining the two separate paths and advances in modern poetry. The second part mainly explores the spiritual pursuit in the poetry creation of Zheng Min and Chen Jingrong, from the early individual life sighing to the fate of home and country, and then thinking about the ultimate fate and value of the human universe. The third part, by analyzing the similarities and differences of the poetic characteristics and spiritual pursuits of Zheng Min and Chen Jingrong, explains their significance to the literary history of the Nine Leaf Poetry School with the independent discourse power of female literature and the poetry creation of different male poets. The development and expansion of the campus poetry style of Southwest University, the inheritance of modernist poetry. It also reveals its inheritance and development of poetry in the twenties and thirties, and the evolution of modern female poetry in three decades, and then probes into the aesthetic evolution of modern female poetry.
【學(xué)位授予單位】：江蘇師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：I207.25

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