On the aesthetic feature of bian zhilin ' s poetic image in his early stage 卞之琳前期詩歌意象的美學(xué)特征
Discernment and blindness : bian zhilin ' s metrics on chinese new poetry 中國傳統(tǒng)倫理及其價值實現(xiàn)的本體論詮釋
The dialogue on connotative textual interpretation between li jianwu and bian zhilin not only made possible the coming into being of the form of dialogue in poetic interpretation , but also provided the avant - garde poets of the 1930s with practical paradigms and promises to come closer to their readers 李健吾與卞之琳等關(guān)于《魚目集》文本內(nèi)涵闡釋的“對話” ,不僅使“對話”形態(tài)的解詩學(xué)產(chǎn)生成為可能,也為20世紀(jì)30年代先鋒性探索詩人的作品如何走近讀者提供了某種進(jìn)入實踐軌道的范式和前景。
No matter where vision fix on , view and admire exteriors in hotel , view and admire the hall from the overline bridge , in conformity with that poem of bian zhilin ' s : " you watch scenery at bridge , people to think scenery see you upstairs , bright moon decorate window of you , you have decorated others ' dream 無論把視野定在何處,在酒店里觀賞外景,亦或從天橋觀賞大廳,都應(yīng)了卞之琳的那句詩: "你在橋上看風(fēng)景,看風(fēng)景的人在樓上看你,明月裝飾了你的窗子,你裝飾了別人的夢。