八十年代以来现代汉诗意象思维的发展

The development of imagery-thought in modern Chinese poetry since the 1980s

意象既是中国古典诗学的核心范畴,也是现代汉诗重要的思维方式。八十年代以来的现代汉诗写作中,意象思维得到了多方面的拓展:于坚的"拒绝隐喻"事实上以否认的方式反证了意象思维与诗歌的不可分离性;北岛则以多个意象有机性实现意象个人化;而张曙光的叙事性诗歌中,隐含以情境更新意象个人性的思维。意象在诗歌中或疏或密,或隐或显,但意象思维却始终是中国汉语诗歌中院的最重要的思维方式之一。

The imagery is both a classical Chinese poetical core and an important thought pattern in modern Chinese poetry. Since the 1980s, the imagery -thought in modem Chinese Poetry has witnessed multiple developments. Specifically, Yu Jian＇ s abnegation of metaphor in fact testifies the inseparability between imagery - thought and poem; Bei Dao＇ s poetry achieves unique individualized imagery by arranging multiple organic images; Zhang Shuguang＇ s narrative poetry implicates thoughts that update the image by situations. Disregarding whether the imagery of poetry is explicit or implicit, sparse or dense, it is always one of the most important ways of thinking in Chinese poetry.