董俊设计方案：论戴望舒诗歌对中国古典传统传承.docVIP

目 录 摘要································································3 ABSTRACT·························································4 绪论································································5 第一章戴望舒诗歌创作的背景和追求····································8 第一节 戴望舒诗歌创作的背景······································8 第二节 戴望舒诗歌创作追求的“三步曲”······························13 第二章 戴望舒诗歌对古典诗歌的继承··································18 第一节 对古诗词的化用············································18 第二节 传统意象的沿袭············································21 一、女性意象··················································22 二、悲秋意象··················································23 三、青色意象··················································25 第三节 古典朦胧的意境············································26 第四节 忧郁的诗情················································29 第三章 戴望舒诗歌对传统的超越······································33 第一节 古典意象的现代性表现·····································33 一、从感性色彩到理性体验······································34 二、从家园到荒原··············································36 三、审丑的意象················································37 第二节 诗的散文化倾向···········································38 第三节 半隐半现的抒情方式·······································42 第四节 从情到知，从自我到民众的创作观念的转变·····················45 结束语···························································49 参考文献·························································51 Directory Chinese abstrct········································································································3 English abstrct·········································································································4 Introduction·················································································································5 Chapter I Dai Wangshus poetry creation background and the pursuit····················8 Section I The Dai Wangshu poetry creation background···································8