| 论现代派的格律论 |
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| 引用本文： | 曹万生.论现代派的格律论[J].四川师范大学学报(社会科学版),2005,32(4):38-44. |
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| 作者姓名： | 曹万生 |
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| 作者单位： | 四川师范大学,诗学研究所,四川,成都,610068 |
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| 摘 要： | 格律论是现代派形式论的理论归宿。现代派引入研究了法国象征派和英美现代派的格律主张，对中国近体诗格律引入并进行研究，对形式感、形式美有独特的理解和把握。现代派提出了自己的新诗格律理论：叶公超的格律美在均衡本质论，新诗格律要具备节奏、音顿、韵律、对偶等具体内涵。在格律论上，何其芳、卞之琳、孙大雨的影响持续最久，贡献最大。
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| 关 键 词： | 现代派 新诗 格律 |
| 文章编号： | 1000-5315(2005)04-0038-07 |
| 修稿时间： | 2005年2月11日 |
On Rhythmic Scheme Theory of Modernism |
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| CAO Wan-sheng.On Rhythmic Scheme Theory of Modernism[J].Journal of Sichuan Normal University(Social Science Edition),2005,32(4):38-44. |
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| Authors: | CAO Wan-sheng |
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| Abstract: | Rhythmic scheme theory is a theoretical destination of modernist formalism. Modernism introduces and studies the rhythmic scheme opinions of French symbolism and British and American modernism and the rhythmic scheme of Chinese modern style poetry, and has a unique interpretation and master of formalist sense and formalist beauty. It advances its own theory of new poetry rhythmic scheme: Ye Gongchao believes that rhythmic beauty lies in proportionate harmony and rhythmic scheme of new poetry contains concrete intension of rhythm, rhyme and antithetical parallelism. He Qifang, Bian Zhilin and Sun Dayu have lasting influence in and great contribution to rhythmic scheme theory. |
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| Keywords: | modernism new poetry rhythmic scheme |
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