新诗之“歌”建构——重审1930年代《新诗歌》的诗学主张与创作实践

20世纪初,新诗坛对旧诗格律的质疑,诗人韵律美、音乐美观念的淡化,加之纸媒文字化传播形式等,导致新兴的白话自由体新诗之“诗”与“歌”相分离。30年代初,中国诗歌会意识到“歌”对于新诗艺术建构的重要性,在其机关刊物《新诗歌》中提出“新诗歌”口号,在观念上重视朗读、歌唱等“歌”性,倡导新诗之“诗”与“歌”的融合;在创作中,借鉴歌谣、戏剧的形式,推动新诗“歌”的实践。“新诗歌”观的提出,有助于改变五四以来新诗重视“诗”而轻视“歌”的状况,为建构新诗之“诗”与“歌”之诗性关系提供了历史契机。然而重视“歌”的初衷,主要是加强新诗介入时代的功能建设,未能就“诗”与“歌”之关系做深层次诗学探讨,在创作上简化为“歌谣化”“戏剧化”实践,致使“新诗歌”观念的内在诗学价值未能在诗性创造维度得到应有的彰显。

Writing Haiku in a Second Language： Perceptions, Attitudes, and Emotions of Second Language Learners

The aim of the current study is to discuss the value of poetry writing in an L2 （second language） by investigating perceptions, attitudes, and emotions of 20 EFL （English as a Foreign Language） college freshmen regarding writing Japanese poetry, haiku in English. This paper first discussed issues and uses of literature in L2 contexts and addressed the current empirical inquiry into L2 haiku writing as a method for L2 learning. The study was designed as a qualitative research which investigated the participants＇ reflection on writing L2 haikus for six weeks in an EFL college writing course. The data obtained was analyzed by using the coding system and showed that writing haiku in the target language was a challenging but valuable task for L2 learning among the EFL students. Especially haiku composition allowed them to develop their L2 linguistic awareness

真水无香说韩冰

一位优秀的编辑家走了,一只生命的红蜡烛熄灭了,但他的音乐的火焰,精神的品格,已在我们心中定格。