| 论新加坡当代华文新诗审美传统主体的移位 |
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| 引用本文： | 翁奕波.论新加坡当代华文新诗审美传统主体的移位[J].新疆大学学报(社会科学版),2005,33(3):116-121. |
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| 作者姓名： | 翁奕波 |
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| 作者单位： | 汕头大学学报编辑部 广东汕头515063 |
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| 摘 要： | 新加坡华文新诗审美传统与中国诗歌是一脉相承的。但新加坡独立之后,华文新诗摆脱了"侨民文学"的影响,逐步形成了自己独特的多元审美特征,其审美传统主体由儒家经世致用的审美取向向道家的"道法自然"、佛家禅宗的直觉顿悟,以及现代派纯粹诗的心灵高度净化的审美取向逐渐移位的现象,表明了诗性回归的趋向。
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| 关 键 词： | 新加坡 华文新诗 审美传统 主体 移位 诗性回归 |
| 文章编号： | 1000-2820(2005)03-0116-06 |
| 修稿时间： | 2005年1月7日 |
On the Drift of Traditional Aesthetic Subject in Contemporary Chinese Poetry in Singapore |
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| WENG Yi-bo.On the Drift of Traditional Aesthetic Subject in Contemporary Chinese Poetry in Singapore[J].Journal of Xinjiang University,2005,33(3):116-121. |
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| Authors: | WENG Yi-bo |
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| Abstract: | The new Chinese poetry in Singapore originated in China and its aesthetic tradition could be traced back to traditional Chinese poetry. However, after Singapore proclaimed its independence, its poetry broke away from the influence exerted by 'overseas Chinese literature' and gradually formed its own multi-element aesthetic characteristics. The traditional aesthetic subject drifted from the orthodox Confucian doctrine of 'governing and attaining practical use' to Taoist principle of 'letting it be', to Buddhist theory of 'intuitive insight', and to Modernistic aesthetic orientation of 'highly purified mentality'. This paper discusses the consequences of the return of poetics to the original orientation. |
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| Keywords: | Singapore new Chinese poetry aesthetic tradition subject drift the return of poetics to the original orientation |
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