姜涛
论文题目：“新诗集”与新诗的发生研究
作者简介：姜涛，男，1970年12月出生，1999年09月师从于北京大学温儒敏教授，于2002年07月获博士学位。
本文尝试以早期“新诗集”为主要讨论对象，通过考察“新诗集”的出版、接受、编撰及历史评价等环节，重新审视“新诗的发生”这一历史命题。该选题的提出，是基于以下两点考虑。
首先，在现有的新诗研究中，内部的审美讨论是主导性的研究模式，无论是诗学观念的辨析、具体作品的文本分析，还是传统与现代、西方影响与本土特征关系的把握，“内部”的审美研究，一直是新诗探讨的主要着眼点，这在一定程度上，造成了研究格局的封闭。其次，在讨论新诗的历史发展时，某种“目的论”叙事也是一般的研究模式，即：认为新诗的发展是依据一定内在规律，向着某种审美理想趋近的过程。然而，逻辑的展开能否等同于历史的本然，新诗史上共时的交错、偶然和矛盾，能否在历时的线性叙述中被有效呈现，都是需要追问的问题。
本文的研究思路，正是在上述两方面背景上提出的：首先，在方法上尝试绕开从观念到观念、从文本到文本的既有模式，在新诗的内部研究“范式”中，引入对外部环节的讨论，譬如发表、出版、读者阅读、诗集编撰和文学史的建构等，在一般的历史研究、审美研究中加入“经验研究”和文学社会学的因素，从一种整体性的社会、文化视角，重新审视新诗的独特历史。其次，尽量回到原初的现场，从共时的角度展现错杂、纷乱的历史表象，从而对一般的有关新诗的线性历史想象，提出自己的质询。在研究时段的选取上，本书将讨论的焦点，投向在新诗发生的初期。虽然从文本成就上看，这一时期新诗的美学成就不及后来，但“新诗”的社会传播、接受模式，以及有关其合法性的历史想象，都在此一时奠基成形。作为“原点”，其中包含的研究可能性，也要比一般理解的远为丰富。
上述言及的，只是方法、时段上的一些设想，而标题“新诗集与新诗的发生”，就是本书“锁定”的话题。顾名思义，这项研究包含两个层面：一是研究的对象（新诗集），一是处理的主要问题框架（新诗的发生）。在新诗发生的完整“故事”中，“新诗集”的出版虽然只是情节之一，但从某种角度说，却象一条无形的线索勾联起“新诗发生”的诸多方面，本文的研究思路，也由此显露，即：通过对早期“新诗集”的出版、传播、编撰、自我定位、接受和历史评价等诸多环节的考察，来探讨“新诗的发生”这一命题的社会文化内涵。
在结构上，本文分为上下两编。上编主要从文学社会学的层面，具体分析了五四前后，一个独立的新诗发生空间的形成，以及在这一过程中“新诗集”的建构功能：首先，新诗的正统确立，不是简单的理论倡导和写作实践的结果，它还要在社会层面形成一个有效的传播空间，而报刊发表、诗集出版，正是这一空间形成的前提。发表、成集不仅扩张了新诗的影响，更为重要的是，一种现代的诗歌想象也得以塑造，公共化的呈现导致了对诗歌中私人交际因素的排斥，也使得“创作”的要求成为新诗的核心观念。
其次，发生空间形成的过程中，另一个重要因素就是一个新的“读者群”的出现，这一“读者群”以青年学生为主体，其数目的有限，恰恰体现了新诗的先锋形象。另外，对这些读者而言，阅读“新诗集”，一方面标志了一种新的文化身份，另一方面，也建构起一种共同的“代际经验”。
再次，“新诗集”的出版与“新书局”的文化形象，也有复杂的关联。在这种关联中，新诗获得了现代出版业的支持，而新书局也借出版新诗也积累了象征资本，提升了自己的文化品牌；而新诗坛内部的场域分化，也微妙地表现在不同的新诗集序列与新书局的对峙之间。
最后，新诗的发生，还涉及到一种与新的文本形态相适应的“阅读程式”的建立。最初，一般读者对新诗的排斥，与新的“阅读程式”的缺失有内在的关联，而围绕《尝试集》、《新诗年选》、《女神》三本“新诗集”展开的批评、纷争与阐释，则显示了新的“阅读程式”的建立过程，以及新旧“阅读程式”缠绕间的历史复杂性。
本文下编，在研究的视角上有所改变，从外部的社会性探讨，转向“新诗集”本身、及其历史评价的研究。在新诗的发生空间形成中，除了空间的建构作用，“新诗集”更为重要的功能，还表现在“新诗”内涵、形象的呈现上。“新诗集”的编撰、成集和自我定位过程，也就是一个“新诗”形象的塑造和追寻的过程，对“新诗”历史的不同想象也就渗透其中。
本文下编，首先对《尝试集》、《草儿》、《冬夜》、《蕙的风》、《女神》等新诗集进行了分析，考察在诗集的序言、编次及删选中，新诗的历史形象得到了怎样的呈现：一方面，这种形象主要是由新与旧、白话与文言的冲突来辨识的，形式上的“诗体大解放”是新诗合法性的主要来源；另一方面，一种有关“诗”的诉求也渐渐高涨，并与新诗“非诗化”的历史活力形成某种冲突，这就形成了一种内在的张力。如果说这种张力在新诗集中还是潜在的，那么在新诗集的阅读和评价当中，却激烈地表现出来。从“学衡派”到新一代新诗人，对早期新诗集的攻击便不绝于缕，批评的立场虽有不同，但都是站在某种“诗”的前提上，对早期新诗的非诗因素大加鞭挞，这种批评不仅改变了新诗的形象，也变成诗坛场域划分、规则转换的工具。本文认为，所谓“诗”的标准，不是一个本质主义的概念，既与一般的审美期待相关，也是现代纯文学观念的知识产物。但新诗是在某种现代性的历史压力下产生的，它不仅改变了传统的诗歌体式，其实也与现代的文类规范构成一种紧张关系，这就形成了新/旧、文言/白话之外的另一重冲突。
在完成上述考察之后，本文最后以《尝试集》与《女神》的历史定位为个案，讨论了有关新诗起点的争论，认为在上面两本诗集的升沉中，展开的是一整套文学史建构机制。在历史还原的基础上，本文尝试提出的观点是：新诗的发生是处于多重历史压力下的，新/旧（文言/白话）、诗/非诗的双重对话共同支配了新诗的历史构想，形成了特殊的张力结构。然而，在新诗合法性的不断辩难中，在普遍的审美期待和现代纯文学观念的不断规约下，这种张力结构似乎被暗中消解，并沉积在后来的文学史写作中。
上、下两编的论述，表面上触及的是新诗发生的两个层面，但从整体上看，二者都关联着新诗合法性的追寻，即：所谓“正统”的确立。本文在揭示其中的历史细节和复杂性的同时，也试图对有关新诗的一般性历史想象，提出自己的质询。
关键词：新诗集，新诗的发生，发生空间，新诗的历史想象，合法性辩难，新诗史
Abstract
This thesis attempts to take the
early New Poetry collections as the main subject, reviewing the rise of the New
Poetry as a historical proposition by observing the compiling, publishing,
acceptance and historical comment of the early New Poetry collections.
This thesis is based on two
points: First, the inner aesthetic analysis is the major pattern of the New
Poetry studies nowadays, such as concept distinction, text analysis, the studies
on the relation between tradition and modern, western influence and domestic
characters, which may result in some kind of limitation of the research. Second,
when talking about development of the New Poetry, certain teleology narration
has dominated the studies, what thoughts the New Poetry has progressed its way
through certain orderliness to kind of aesthetic ideal. However, what should be
doubt is that: Is the logical assumption equal to history naturalness? Or is it
possible that the simultaneous intervene, contingency and inconsistency can be
presented effectively in the linear narration?
What mentioned above make of the
backdrop of the investigation in this thesis: First, in order to avoid the
former study pattern of concept-to-concept or text-to-text, this thesis attempts
to bring the factors of experience studies and literature sociology into common
history studies and aesthetic analysis, and re-scan the special history of the
New Poetry in the viewpoint of whole society and culture, by discussing some
exterior aspects, such as publishing, reader’s acceptance, compiling of poetry
collections and the construction of literature history. Second, Trying to recur
to the original scene, and exhibit the jumbled historical phenomena
simultaneously, the thesis focus on the initial stages of the rise of the New
Poetry, and inquires the current linear imagination of the New Poetry history.
Although the achievements of the New Poetry in the initial stages were inferior
to the future, but the mode of social spread, the reader’s acceptance and the
historical legitimacy of the New Poetry were all formed in this period. Being
considered as the origin, this period has more possibility to investigate far
more than common comprehension.
What mentioned above is the
consideration about study’s plan and period，the title “the New Poetry
collections and the rise of the New Poetry” is the topic in this thesis. Just
as the title implies, the studies contains two aspects：the one is the subject
(the New Poetry collections), the other is the domain in which the main
questions are managed.
In the whole story of the
rise of the New Poetry, the publishing of collections was just one of the plots,
but it united many aspects of “the rise of the New Poetry” as a immaterial
clue. The project of the study may show up: this thesis will discuss the rise of
the New Poetry as a proposition, investigate its social and cultural meaning by
reviewing on the publishing, promulgating, compiling, self-positioning,
acceptance and historical comments of the early New Poetry.
The
construction of the thesis was divided into two editions. The former edition
analyses specifically how the independent rise-space came into being gradually
in the Wusi period and the constructional function of the New Poetry collections
in the view of literature sociology.
First of all,
the rise of the New Poetry tradition was not a simple result of theoretical
advocacy and writing practice, it ought to form an effective promulgating space
in society depending on releasing on newspapers or magazines and publishing
collections. Releasing and publishing not only expanded the influence of the New
Poetry, more important, they figured a modern imagination of the poetry: the
public presentation countered the private functions of traditional poetry and
advocated the creation as the kernel concept of poetry. In the second, during
the rise-space coming into being, another important factor was the appearance of
a new reader group dominated by urban youth, whose finite amount is properly
finite to embody the vanguard figure of the New Poetry. For these readers，reading
the New Poetry was a symbol of a new culture identity and constructed a sort of
contemporary experience. Furthermore, the publishing of the New Poetry
collections and the cultural image of new publishing houses had a complicated
relationship. On the one hand, the New Poetry obtained sustaining from modern
publish industry, at same time the new publishing house accumulated symbol
capital resorting by publishing the collections and advanced self ‘s culture
brand. On the other hand, the field-polarization of the New Poetry Parnassus
subtly presented in the conflict between the different collections series and
the publishing houses. Finally, the rise of the New Poetry was also involved
with a new reading pattern corresponded to the new text form. In the initial
time, The common readers’ rejection of the New Poetry was related
to the lack of the new reading pattern which was founded gradually by the
criticizing, disputation and explanation on “ChangShiJi”, “the Annual of
the New Poetry”, and “Goddess”.
The later
edition changes the viewpoint from the exterior discussing to the New Poetry
collections themselves and their history comments. Besides the function of
constructing the space, the vital function of the collections was representation
of the image and connotation of the New Poetry during the foundation of the rise
space. So the progress of the collections’ compiling and self-positioning was
just a progress of shaping and seeking a self -image with different historical
imagination
First,
The later edition analyses the collections such as “ChangShiJi”, “Cao’er”,
“DongYe”, “HuiDeFeng” and “Goddess”，to review how the historical
image was presented in prologue、editing, deleting and choosing of poems. On
the one hand, the image was distinguished mostly by the conflict between old and
new ,colloquialism and classical Chinese, “the great liberation of the poem
pattern” was the main origin of the legitimacy of the New Poetry；on the
other hand, a appeal to “poetry” also ran up and conflicted with the
historical neo-poetry impulse of the early New Poetry, which brought to a sort
of intension. If the intension was still latent in the New Poetry collections，it
showed furiously in the comments of these collections. From the group of
“XueHeng ” to some younger new poets, many critics attacked the neo-poetic
character of the early New Poetry constantly, sharing a same rule of
“Poetry”. Such criticism not only changed the image of the New Poetry but
also worked as a tool to partition the field of the Parnassus. In this thesis,
the so called rule of “poetry” is not a essential concept, which concerns
with common aesthetic expectation as well as an outcome of the knowledge of
ideal modern belles-letters. However, the New Poetry was given birth under the
historical pressure of certain modernity, it has not only changed traditional
poem style but also constructed strain relationship with other modern writing
genus which brought up another conflict besides the fresh and former，classical
Chinese and colloquialism.
In
the end, the thesis takes the arrangement of historical positions of
“ChangShiJi” and “NvShen” as a sample, to talk about the construction of
literature history, by discussing the argument on the starting-point of New
Poetry. On the base of description of historical events, the thesis is
going to make it clear that the rise of the New Poetry was under the multiple
historical pressures. The dialogue between Poetry and Neo-poetry, and the
dialogue between the New and Old, dominated the historical imagination of New
Poetry together, and made a kind of special intense possible. However, this
special intense has been deconstructed through the argument on the legality of
the New Poetry, ruling by the readers’ common expectation and the modern pure
literature discourse. So, the narration of New Poetry history was influenced
deeply.
Within the two sections, the thesis talks about the relative two parts of the
rise of the New Poetry, but on the whole, they all correlate the searching of
legality of the New Poetry. The thesis is going to disclose the details and
complexity of history, while questioning the certain premise in the imagination
of New Poetry history.
