摘要
在宏观文学史的书写中,郭沫若的诗集《女神》常常被认为是"五四"时期文学创作的重要收获,代表了"五四"新文学的精神。但就《女神》本身来说,其内部却有着很多与"五四"时代精神不相符的地方,这集中体现在《女神》所构建的审美空间中。郭沫若在《女神》中努力构建一种开放的审美观,并不断地与周围一切(包括自身)对话,以寻找自身存在的价值和维度。《女神》的这种审美特色奠定了它在郭沫若创作中的独特地位,而郭沫若的《女神》的创作思路也成为研究郭沫若生平的一个切入点。
In the writing of the macro literature history, Guo Moruo' s "Goddess" is often regarded as one of the most important achievements in the "May 4th" period, representing the spirit of the "May 4th" new literature. But in "Goddess" itself, there can be found a lot of places that deviate from the "May 4th" spirit, which are mostly reflected in the aesthetic space that " Goddess" had made. In" Goddess", Guo Moruo focused on building an open aesthetic concept, and carried dialogues with all the surroundings in order to find the meaning of existence in itself. The aesthetic features of the " Goddess" made its unique position in Guo Moruo' s writings, while his thinking of the creation of "Goddess" can serve as a cut-in point in the research of Guo Moruo' s life.
出处
《山东师范大学学报(人文社会科学版)》
2016年第4期14-30,共17页
Journal of Shandong Normal University(Humanities and Social Sciences)