新诗语音形式理论史上的"内在韵律论"

在新诗语音形式的理论发展中,郭沫若以极端的方式奠定情绪主体在诗歌活动中的本体地位,并通过写作示范展示出这种主体作用的强大,形成了新的情感经验生成模式.但是,对于主体激情的过分推崇,又使他忽略了存在于主体情感与诗歌表现之间的审美中介环节,从而成为他之后的语音形式探讨的新的出发点和理论假想敌.

The Inner Rhythm in the History of New Poem Phonetic Format Theory

In the development of the new poem phonetic format theory,Guo Moruo gave emotion the dominating position,and illustrated its tremendous power in his works.Thus the new model of emotion depiction was shaped.However,he neglected the aesthetic medium between personal emotion and formal expression,a new field for the discussion of phonetic format as well as an aim for criticism.