本文選題：魯迅 + 舊體詩��； 參考：《華中師范大學(xué)》2015年博士論文

【摘要】：魯迅創(chuàng)作的舊體詩數(shù)量雖然不多,但在他生前和身后都產(chǎn)生了復(fù)雜和深遠(yuǎn)的影響。特別是在建國以后,魯迅的舊體詩一直在被出版、抄錄、誦讀、注解、闡釋和研究,這是一個稍作梳理就能發(fā)現(xiàn)的一個文學(xué)與文化現(xiàn)象。文學(xué)文本的連續(xù)出版、不斷解讀、反復(fù)闡釋是文學(xué)作品接受的重要維度,通常也是其發(fā)生創(chuàng)作影響的條件和契機(jī)。循著這一思路,深入考察被文學(xué)史所遮蔽、拒絕、忽視的當(dāng)代舊體詩詞創(chuàng)作,我們可以發(fā)現(xiàn)魯迅的舊體詩在創(chuàng)作的維度上同樣也產(chǎn)生了或隱或顯的影響。本文從考察魯迅舊體詩的詩體特征入手,梳理分析了魯迅舊體詩在當(dāng)代舊體詩詞創(chuàng)作中的傳承。本文分為上篇、中篇、下篇。上篇主要界定相關(guān)概念,論述“魯體”這一范疇提出的依據(jù)與意義,以及“魯體”的基本特征。中篇主要以“魯迅弟子”蕭軍、胡風(fēng)、聶紺弩為研究個案,梳理“魯體”在1950-70年代舊體詩詞創(chuàng)作中的傳承,探究他們對“魯體”創(chuàng)作接受的不同側(cè)面及其原因。下篇主要以新“二流堂”群體、“嶺南詩人”群體以及雜文家群體的舊體詩詞創(chuàng)作為研究個案,梳理“魯體”在1980年代以來舊體詩詞創(chuàng)作中的傳承。上篇由第一章、第二章、第三章組成。第一章在梳理中西文體理論的基礎(chǔ)上,評述國內(nèi)外學(xué)界對“文體”的幾種界定方式,確定本文在何種意義上使用“文體”這一范疇,簡要論述文體與詩體之間的關(guān)系,進(jìn)而闡釋“魯體”提出的歷史依據(jù),文本依據(jù)與研究意義。第二章認(rèn)為,草木意象、長夜意象群體及其所蘊(yùn)含的孤獨意識,雜文化的詩歌語體與論辯式的章法結(jié)構(gòu),風(fēng)景的社會隱喻性與內(nèi)在的批判精神,是“魯體”的基本特征,第二章運用文本細(xì)讀的方法,結(jié)合相關(guān)史料,對此進(jìn)行了詳盡論述。第三章將“魯體”置放于中國詩歌傳統(tǒng)中進(jìn)行審視,考鏡“魯體”與文學(xué)傳統(tǒng)之間的淵源關(guān)系,并簡要概述了“魯體”在當(dāng)代的傳承與變異的歷史。中篇由第四章、第五章、第六章組成。第四章以蕭軍早期的舊體詩詞作為參照,論述“魯體”傳承發(fā)生的歷史背景、主體原因,考察蕭軍1950-70年代的舊體詩詞創(chuàng)作中對“魯體”的接受。對“魯體”意象、詩語的借用,對魯體孤獨意識的承傳,是蕭軍舊體詩詞接受“魯體”的主要面向。第五章主要梳理胡風(fēng)舊體詩詞創(chuàng)作中“魯體”的承傳,胡風(fēng)步韻魯詩、連環(huán)對詩體的內(nèi)在形式,以及詩中強(qiáng)烈的孤獨意識,是他承傳“魯體”的文本表征。第六章論述了“魯體”自嘲對聶紺弩最具特色的“勞動詩”的發(fā)生學(xué)意義,“聶體”的形式特征與“魯體”的承傳關(guān)系,“聶體”的孤獨意識對“魯體”的承傳與變異。任何一種傳承都不是被動的接受,任何一種接受都是受制于接受主體先在視界的選擇性接受�！棒旙w”在蕭軍、胡風(fēng)、聶紺弩舊體詩詞創(chuàng)作既有共性又有差異的復(fù)雜接受形態(tài),體現(xiàn)了不同接受主體與時代語境、魯體傳統(tǒng)乃至魯迅傳統(tǒng)之間復(fù)雜的互動關(guān)系。下篇由第七章、第八章、第九章組成。第七章論述了以荒蕪、黃苗子、楊憲益為代表的新“二流堂”群體的詩詞創(chuàng)作對“魯體”的傳承。第八章主要考察以李汝倫、熊鑒、何永沂為代表的“嶺南詩人”群體的詩詞創(chuàng)作對“魯體”的接受。第九章側(cè)重于梳理以邵燕祥、陳四益為代表的雜文家的舊體詩詞創(chuàng)作與“魯體”之間的承傳關(guān)系。這三個群體對“魯體”的創(chuàng)作接受表現(xiàn)了較大的共性,他們的詩詞創(chuàng)作主要傳承了“魯體”雜文化詩歌的面向,在話語體式、結(jié)構(gòu)方式與批判精神方面繼承和發(fā)揚了“魯體”的特色。魯迅舊體詩的接受史存在于讀者的閱讀接受、批評家的闡釋接受和作者的創(chuàng)作接受之中。由于在一定歷史時期舊體詩創(chuàng)作的私人性、表意的間接性等原因,與魯迅舊體詩闡釋接受史的單質(zhì)形態(tài)相比,創(chuàng)作維度的接受史顯得更為復(fù)雜多元,這深刻體現(xiàn)了主體、語境、文體等諸多因素之間復(fù)雜隱秘的互動關(guān)系。
[Abstract]:Although the number of old poems written by Lu Xun is not much, it has a complex and profound influence on his life and behind him. Especially after the founding of the people's Republic of China, Lu Xun's old poetry has been published, transcribed, read, annotated, explained and studied. This is a literary and cultural phenomenon that can be found by a little combing. The continuous publication of literary texts, Continuous interpretation, repeated interpretation is an important dimension of the acceptance of literary works, and is usually the condition and opportunity for the influence of his creation. Following this idea, we can deeply examine the creation of contemporary old poetry, which is obscured by the history of literature, refusing and neglecting, and we can find that Lu Xun's old poetry has also produced or implied in the dimension of creation. This article, starting with the study of the poetic features of Lu Xun's old verse, combs and analyzes the inheritance of Lu Xun's old verse in the creation of contemporary old poetry and words. This article is divided into the first, the middle, and the next. The first part mainly defines the related concepts, and discusses the basis and significance of the category of "Lu body", as well as the basic characteristics of the "Lu body". "Lu Xun disciples" Xiao Jun, Hu Feng and Nie Jing, as a case study, combed the inheritance of the "Lu body" in the creation of the old poems and words in the 1950-70 years, and explored the different aspects and reasons for their acceptance of the creation of the "Lu style". The next part is mainly based on the new "second class hall" group, the "south of the Five Ridges poets" group and the old poetry and words of the essays. The first chapter is the first chapter, the second chapter and the third chapter. The first chapter, on the basis of combing the Chinese and Western stylistic theories, reviews the definition of "style" by the Chinese and foreign scholars, and determines the category of "stylistic" in the meaning of this article. It is necessary to discuss the relationship between style and poetic style, and then explain the historical basis of the "Lu body", text basis and research significance. The second chapter holds that the image of grass and wood, the group of long night imagery and the consciousness of loneliness, the poetic style and the argumentative structure of the miscellaneous culture, the social metaphorical and the inner critical spirit of the landscape, are " The basic features of Lu body, the second chapter, by using the method of text reading, combined with the relevant historical materials, discussed this in detail. The third chapter examines the "Lu body" in the Chinese poetry tradition, examines the origin of the "Lu body" and the literary tradition, and briefly describes the history of the inheritance and variation of the "Lu body" in the contemporary era. The middle part is composed of fourth chapters, fifth chapters and sixth chapters. The fourth chapter discusses the historical background of the inheritance of the "Lu body" in the early period of Xiao Jun. The main reason is to examine the acceptance of the "Lu body" in the creation of the old poems and words in the 1950-70 years of the Xiao Jun, the image of the Lu body, the borrowing of the poetic language, and the inheritance of the loneliness of the Lu body, The fifth chapter mainly combs the inheritance of "Lu style" in the poems and poems of Hu Feng's old style, Hu Feng rhyme rhyme, the inner form of Lian ring and the strong sense of loneliness in the poem. The sixth chapter discusses the self mockery of "Lu body" to Nie Gannu. The significance of the most distinctive "labor poetry", the relationship between the formal characteristics of Nie body and the "Lu body", the inheritance and variation of "Nie"'s lonely consciousness to the "Lu body". Any kind of inheritance is not passive acceptance, and any kind of acceptance is subject to the selective acceptance of the subject in the horizon first. In Xiao Jun, Hu Feng and Nie Jing, the old style of poetry has both common and different forms of acceptance. It embodies the complex interaction relationship between the different subjects and the context of the times, the tradition of the Lu body and the tradition of Lu Xun. The next part is composed of seventh chapters, eighth chapters and ninth chapters. The seventh chapters discuss the new representation of the desolation, Huang Miaozi and Yang Xianyi. The eighth chapter mainly examines the acceptance of the poetic creation of "south of the Five Ridges poets", represented by Li Rulun, Xiong Jian and He Yongyi, on the "Lu body". The ninth chapter focuses on the combing of the old poetic creation and the "Lu body" of the miscellaneous writers, represented by Shao Yanxiang and Chen Siyi. The three groups show great generality to the creative acceptance of the "Lu body". Their poetic creation inherits and inherits and develops the characteristics of the "Lu body" in the discourse style, the structure mode and the critical spirit. The acceptance history of Lu Xun's old style poetry exists in the reader's reading connection. Because of the private nature of the creation of the old verse in a certain historical period and the indirectness of the expression, the acceptance history of the creation dimension is more complex and pluralistic, which embodies many factors, such as the main body, the context, the style, and so on, because of the private nature of the old style poetry in a certain historical period. A complex and secretive interaction.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2015
【分類號】：I207.25
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本文編號：2111440