CAJ | 학술논문

从1940年代名作《十五夜》到1960年代自订稿《十六夜》，体现了朱英诞“镜”式诗学观的流变。这作为新诗诗人回到古典诗词创作的个案，反映出一种在西方现代艺术与中国古典艺术之间建立主体性的“焦虑感”与“未完成性”。
종1940년대명작《십오야》도1960년대자정고《십륙야》，체현료주영탄“경”식시학관적류변。저작위신시시인회도고전시사창작적개안，반영출일충재서방현대예술여중국고전예술지간건립주체성적“초필감”여“미완성성”。
The poeticmirror exists in the poemNight of the Full Moonof 1940s by Zhu Yingdan (1913-1983)and his reformulation of it in the 1960s,which explains his return to Chinese classic poetry. It is arguable that the anxiety prevailed in the Chinese New Poetry writers in their unfulfilled efforts to constructing subjectivity in the middle of western modern arts and Chinese classical arts.