CAJ | 학술논문

20世纪80年代，“朦胧诗”的出现在当时的中国文坛引起了轩然大波。关于“朦胧诗”的争论从一开始就远远超出了“诗学”理论的范畴。支持“朦胧诗”的“崛起派”论者以尊重个体价值为理论武器为其辩护，他们高扬“自我表现”和“心理真实”在文学批评和文学创作中的重要性。究其实质，他们最终的落脚点在于其内心对中国文学的“现代化”想象。
20세기80년대，“몽롱시”적출현재당시적중국문단인기료헌연대파。관우“몽롱시”적쟁론종일개시취원원초출료“시학”이론적범주。지지“몽롱시”적“굴기파”론자이존중개체개치위이론무기위기변호，타문고양“자아표현”화“심리진실”재문학비평화문학창작중적중요성。구기실질，타문최종적락각점재우기내심대중국문학적“현대화”상상。
The emergence of ＂Obscure Poetry＂ in the 1980s caused a great disturbance, The debate on ＂Obscure Poetry＂ was far beyond the scope of the theory of the ＂Poetics＂. The ＂Rising Group＂ who supported the ＂Obscure Poetry＂ took the respect for the individual value as their theoretical weapon for the defense. They highlighted the importance of ＂self-expression＂ and ＂psychological reality＂ in literary criticism and literary creation. As for the essense, their ultimate end lies in the imagination of Chinese literature ＂modernization＂.