《文艺复兴》与“中国新诗人”的出场

Renaissance and the Appearance of "the New Chinese Poet"

作为1940年代后期诗歌生态的忠实记录者,《文艺复兴》在战后积极推出了一批"中国新诗人"。其中既包括借《文艺复兴》这个平台,完成在中国新诗史上第一次比较大规模的集体亮相的"九叶派"诗人;也包括以李白凤、史卫斯为代表的,一些在1930年代即已成名的"现代派"诗人。因此回到《文艺复兴》这个历史原点,不仅跳出了现有对于"九叶派"在1940年代的集聚过程的研究,基本上立足于《诗创造》和《中国新诗》的窠臼,也为我们提供了解读现代主义诗歌如何在1940年代特殊的社会文学环境中,求得一定生存与发展空间的生动实例。

As a faithful record of the late 1940＇s poetry ecology, Renaissance in the postwar actively launched a number of ＂China new poets＂. Which includes not only by the Renaissance this platform, completed in Chinese poetry in the history of the first large - scale collective appearance of ＂Nine Leaves School of poetry＂ ; including Li Baifeng and Shi Weisi,some in the 1930~ has become fa- mous modernist poet. Therefore return to ＂Renaissance＂ this historical origin, not only conducive to jump out of the existing for the ＂ Nine Leaves School of poetry＂ in the study of the agglomeration process in 1940, basically established in the ＂Poetry creation＂ and ＂ Chinese New Poetry＂, also provides us how to interpret the modernist poetry in the special social environment in the 1940＇s literature, obtained some vivid examples of survival and development space.