摘要
重视声韵与文体属性相对规范的诗歌,及以"废韵"为特征强调自由灵活的"无韵诗",构成了中国新诗的两种基本形态。二者的互动消长,反映出新诗形式发展的基本走向。受近30年整体环境影响,傅天琳在前、后期的创作中,对这两种形式都进行了尝试。因此,透过傅天琳的诗歌,大致可以窥见当代新诗形式的流变轨迹。考察这两种新诗形态的差异及其影响,对中国诗歌的方向选择及稳健发展,具有重要意义。
Chinese modern poetry has two basic forms： rhymed poetry with relatively regular style and flexible ＂blank verse＂ featuring ＂freedom from rhyme＂. Their ebb and flow reflects the basic orientation in the form of Chinese modern poetry. Influenced by such a tendency, Fu Tianlin attempted at both forms in her early and late stage of creation. Hence, the development of her creation can roughly show the development of Chinese contemporary poetry. The study of difference between the two forms and their mutual influence is of significance to the choice of orientation for Chinese poetry and its stable development.
出处
《西南大学学报（社会科学版）》
CSSCI
北大核心
2009年第3期24-28,共5页
Journal of Southwest University(Social Sciences Edition)
关键词
中国新诗
形式
诗性
Chinese modern poetry
form
poeticalness
