中国现代诗歌创作与翻译——以徐志摩为例

发布时间：2018-05-03 12:46

  本文选题：徐志摩 + 互动生成　； 参考：《文艺理论研究》2017年05期

【摘要】：自韦勒克"比较文学的危机"(1959年)一文发表以来,海内外学界就不乏对影响研究(有意)无意的误读或误释。就中国现代诗歌而言,避谈影响及其转化便无法厘清其逻辑生成机制。本文旨在通过梳理徐志摩的诗歌写作与翻译的内在联系,管窥中国现代诗歌的生成,阐明现代诗人将"影响之焦虑"化为革新之动力,通过自己多方位的创作与翻译,无论在形式还是内容等方面创造性地转化了西方诗体,不仅使现代(白话)新诗收获了文体的繁荣,也极大扭转了新诗的非诗化发展趋势,找回了它应有的艺术气质。诗人以其独特的翻译与创作的互动对此给出了足堪垂范后人的答案,尽管仍未完全成熟。对于郭沫若、闻一多、冯至、戴望舒、卞之琳等现代诗人翻译家亦当如是观之。
[Abstract]:Since the publication of Willerk's the crisis of Comparative Literature (1959), scholars at home and abroad have unintentionally misread or misinterpret the study of influence. As far as modern Chinese poetry is concerned, it is impossible to clarify its logical formation mechanism. The purpose of this paper is to explore the generation of modern Chinese poetry by combing the internal relationship between Xu Zhimo's poetry writing and translation, and to clarify that the modern poet has transformed the "anxiety of influence" into the motive force of innovation, and through his own multi-faceted creation and translation. The creative transformation of the western poetic style in both form and content not only makes the modern (vernacular) poetry prosper in style, but also greatly reverses the trend of non-poetic development of the new poem and finds its due artistic temperament. The poet, with his unique interaction between translation and creation, gives the answer to this problem, although it is still immature. The same is true of modern poets, such as Guo Moruo, Wen Yiduo, Feng Zhi, Feng Zhi, and #china_person鈪，

本文编号：1838539