世界文学与中国现代诗歌的世界性

世界文学概念自歌德提出之后，被不断地讨论和阐释，成为重要的理论范式和方法。丹穆若什强调，世界文学是从翻译中获益的文学，它不是指一套经典文本，而是指一种阅读模式。宇文所安以北岛为例分析了中国现代诗歌在向世界传播过程中的得与失，以及文 化民族化与全球化等问题。在世界文学的视域下，中国现代诗歌的发展与流变轨迹既体现了民族化的内在诉求，也见证了其参与世界交流与对话的外在需要。中国现代诗歌的重要发展阶段及集大成者诗人的创作历程，都显示出其在融通民族性与世界性上的不懈努力。中国现代诗歌何以走向世界?罗伯特·白英1947年编译出版的《当代中国诗选》提供了一些可资借鉴的经验与模式。研究世界文学与中国现代诗歌的世界性，有助于推动中国文学与文化走出去，提升民族文化自信，增强中华文明传播力影响力。

World Literature and the Cosmopolitanization of Modern Chinese Poetry

The critical discussion on the issues of world literature has shaped the theoretical paradigm and method of Chinese literature studies. According to David Damrosch, World literature is not a cannon of texts but a mode of reading and circulation, it gains much from translation. From the perspective of world literature, the cosmopolitan characteristics of modern Chinese poetry are undoubtedly remarkable. In the development of modern Chinese poetry，there are inner demand for nationality and outer eagerness to participate the international communication. Most excellent Chinese poets have succeeded in pursuing the fusion of the national and the cosmopolitan features, and their creative works have presented as part of world literature, as can be seen in Contemporary Chinese Poetry edited by Robert Payne in 1947. In order to advance the movement of Chinese literature from national to global context and to promote the self-confidence of Chinese culture, we should revalue the universality of modern Chinese poetry.