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新诗形式
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  “新诗形式”译为未确定词的双语例句
     Wen Yi-duo's Poetics Theory and Modern Constructivism of New Verses
     闻一多诗学理论与新诗形式的现代化建构
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     The Social and Historical Influences on the Forms of New Poetry
     论社会、历史对新诗形式演变的影响
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     The Significance of the Establishment of Form-beautyby Xu Zhimo for New Poetry
     论徐志摩对新诗形式美建构的意义
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     In modern poetics artistic tendency mainly refers to the fact that more attention should be paid to the beauty of form in new verse.
     现代诗学中的艺术化倾向 ,主要是指对新诗形式美的关注和强调。
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     So to solve the theoretic problem of the form ofnewpoetry,there is but one way: discussion.
     要解决新诗形式的理论问题,只有一个办法:展开讨论。
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     On Whether Form Can Save Chinese New Poetry
     论形式能否拯救新诗
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     New poem modernization and style construction
     新诗现代化与形式建设
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     From the "Methodology" to the "Form"
     从“方法”到“形式
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     On form
     “形式”论
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     From "Vernacular Poems" to "New Poetry
     从“白话诗”到“新诗
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In modern poetics artistic tendency mainly refers to the fact that more attention should be paid to the beauty of form in new verse. In early days the poets of new verse regard “naturalness” as the highest standard of poetic art which stresses free expression of emotions. This has led to the malparactices that the liberalism in poetics harms greatly the development of new verse. To curb it, there has existed a strong voice for the emphasis on artistic features of new verse since it was first started. Few years...

In modern poetics artistic tendency mainly refers to the fact that more attention should be paid to the beauty of form in new verse. In early days the poets of new verse regard “naturalness” as the highest standard of poetic art which stresses free expression of emotions. This has led to the malparactices that the liberalism in poetics harms greatly the development of new verse. To curb it, there has existed a strong voice for the emphasis on artistic features of new verse since it was first started. Few years after May 4th Movement of 1919, the shortcomings of free verse written in the vernacular became more serious and that voice got more powerful. This finally results in 1926's New Classical Poetic composition Movement. The form advocated by the School of New Classical Poetic Composition marks the maturity of artistic tendency in new verse. As there is a lack of deep probe into the historical background and further development of modern poetics in the academic circle, this paper is a systematic classification and tentative judgement on this point.

现代诗学中的艺术化倾向 ,主要是指对新诗形式美的关注和强调。早期新诗人把“自然”作为最高诗艺准则并一味强调情感的自由自发抒写 ,由此造成的诗艺自由主义流弊严重影响新诗的发展。作为对自由主义诗学倾向的反拨和修正 ,要求新诗注重艺术特性的呼声从新诗创作初期就已存在。五四之后几年间 ,白话—自由诗的弊端越来越严重 ,这种呼声也就越来越强烈 ,终于酿成 192 6年的新格律诗运动。新格律化主张的形式标志着新诗艺术化观念的成熟。由于学术界对现代诗学中的“艺术化”倾向的历史背景及演进脉络缺乏深入的探讨 ,本文尝试对此进行系统的梳理和初步的评价。

WEN Yi - duo put forward the aesthetic principle that ran dominates over emotions and the proud that a New Poetry have rhythm patterns. The two have offered a chance for the standardization of the New Poetry and at the same time a path to the Chinese classic traditions.

闻一多发起的新诗格律化运动,确立了新的艺术形式和美学原则,使新诗走上了规范化的道路,同时也使之接上了中国古典诗歌优秀传统的源流。闻一多所提出的“理性节制感情”的美学原则与新诗形式格律化的主张,既是新诗规范化的步骤,又是新诗民族化的途径,两者是合而为一的。这是闻一多对新诗发展的独特贡献。

This article surveys the theories of the Chinese modern poetic studies in the first decade of the New Literature perios. It focuses on the developmental traces of the theories from the early free verse to modern metrical verse; and stresses the contributions of some great poets to literature. The studies of poetic theories from 1917 1927 influenced greatly to poetic creations and poetic theories in the 1930's and 40's.

梳理了新文学第一个十年中国现代诗学理论的整个概貌 ,重点考察了早期的白话自由诗到现代格律诗理论发展的历史线索 ,尤其是以宗白华、李思纯等为代表的对新诗音乐美与自然音节的重视 ,为以后闻一多的格律诗理论奠定了基础。如果说白话自由诗论和现代格律诗论侧重对新诗形式方面的探讨 ,而以穆木天为代表的“纯诗”理论则对诗歌的内容方面作了有益的探询。1917- 192 7年中国现代诗学理论已经崛起 ,并开始形式多元化的格局 ,对三、四十年代的诗歌创造与诗歌理论产生深远的影响

 
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