鲁迅旧体诗及其当代传承研究

发布时间：2018-07-10 01:13

  本文选题：鲁迅 + 旧体诗　； 参考：《华中师范大学》2015年博士论文

【摘要】：鲁迅创作的旧体诗数量虽然不多,但在他生前和身后都产生了复杂和深远的影响。特别是在建国以后,鲁迅的旧体诗一直在被出版、抄录、诵读、注解、阐释和研究,这是一个稍作梳理就能发现的一个文学与文化现象。文学文本的连续出版、不断解读、反复阐释是文学作品接受的重要维度,通常也是其发生创作影响的条件和契机。循着这一思路,深入考察被文学史所遮蔽、拒绝、忽视的当代旧体诗词创作,我们可以发现鲁迅的旧体诗在创作的维度上同样也产生了或隐或显的影响。本文从考察鲁迅旧体诗的诗体特征入手,梳理分析了鲁迅旧体诗在当代旧体诗词创作中的传承。本文分为上篇、中篇、下篇。上篇主要界定相关概念,论述“鲁体”这一范畴提出的依据与意义,以及“鲁体”的基本特征。中篇主要以“鲁迅弟子”萧军、胡风、聂绀弩为研究个案,梳理“鲁体”在1950-70年代旧体诗词创作中的传承,探究他们对“鲁体”创作接受的不同侧面及其原因。下篇主要以新“二流堂”群体、“岭南诗人”群体以及杂文家群体的旧体诗词创作为研究个案,梳理“鲁体”在1980年代以来旧体诗词创作中的传承。上篇由第一章、第二章、第三章组成。第一章在梳理中西文体理论的基础上,评述国内外学界对“文体”的几种界定方式,确定本文在何种意义上使用“文体”这一范畴,简要论述文体与诗体之间的关系,进而阐释“鲁体”提出的历史依据,文本依据与研究意义。第二章认为,草木意象、长夜意象群体及其所蕴含的孤独意识,杂文化的诗歌语体与论辩式的章法结构,风景的社会隐喻性与内在的批判精神,是“鲁体”的基本特征,第二章运用文本细读的方法,结合相关史料,对此进行了详尽论述。第三章将“鲁体”置放于中国诗歌传统中进行审视,考镜“鲁体”与文学传统之间的渊源关系,并简要概述了“鲁体”在当代的传承与变异的历史。中篇由第四章、第五章、第六章组成。第四章以萧军早期的旧体诗词作为参照,论述“鲁体”传承发生的历史背景、主体原因,考察萧军1950-70年代的旧体诗词创作中对“鲁体”的接受。对“鲁体”意象、诗语的借用,对鲁体孤独意识的承传,是萧军旧体诗词接受“鲁体”的主要面向。第五章主要梳理胡风旧体诗词创作中“鲁体”的承传,胡风步韵鲁诗、连环对诗体的内在形式,以及诗中强烈的孤独意识,是他承传“鲁体”的文本表征。第六章论述了“鲁体”自嘲对聂绀弩最具特色的“劳动诗”的发生学意义,“聂体”的形式特征与“鲁体”的承传关系,“聂体”的孤独意识对“鲁体”的承传与变异。任何一种传承都不是被动的接受,任何一种接受都是受制于接受主体先在视界的选择性接受。“鲁体”在萧军、胡风、聂绀弩旧体诗词创作既有共性又有差异的复杂接受形态,体现了不同接受主体与时代语境、鲁体传统乃至鲁迅传统之间复杂的互动关系。下篇由第七章、第八章、第九章组成。第七章论述了以荒芜、黄苗子、杨宪益为代表的新“二流堂”群体的诗词创作对“鲁体”的传承。第八章主要考察以李汝伦、熊鉴、何永沂为代表的“岭南诗人”群体的诗词创作对“鲁体”的接受。第九章侧重于梳理以邵燕祥、陈四益为代表的杂文家的旧体诗词创作与“鲁体”之间的承传关系。这三个群体对“鲁体”的创作接受表现了较大的共性,他们的诗词创作主要传承了“鲁体”杂文化诗歌的面向,在话语体式、结构方式与批判精神方面继承和发扬了“鲁体”的特色。鲁迅旧体诗的接受史存在于读者的阅读接受、批评家的阐释接受和作者的创作接受之中。由于在一定历史时期旧体诗创作的私人性、表意的间接性等原因,与鲁迅旧体诗阐释接受史的单质形态相比,创作维度的接受史显得更为复杂多元,这深刻体现了主体、语境、文体等诸多因素之间复杂隐秘的互动关系。
[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.
【学位授予单位】：华中师范大学
【学位级别】：博士
【学位授予年份】：2015
【分类号】：I207.25
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本文编号：2111440