隐蔽的原则:激进的形式与玛丽安·摩尔式的颠覆

Hidden Principle:Radical Form and Marianne Moore’s Subversion

美国现代主义诗人玛丽安·摩尔诗歌形式的激进与内容的保守长期以来被认为是一对无解的矛盾。本文首先通过诗歌文本分析,挖掘诗人"隐蔽的原则"观,同时结合阿多诺和伊格尔顿关于诗歌形式的论述,说明摩尔诗歌的这一矛盾在理论上是伪矛盾。在此基础上,本文试图挖掘出诗歌中隐蔽的女性声音,这种声音或隐蔽于激进的形式之下成为消失的声音,或融合于摩尔式的复调中,其诗歌的颠覆性也因此处于被掩饰状态。本文认为,摩尔以其独特的陌生化手法,将诗歌中"隐蔽的原则"潜藏起来,而读者必须要有对应的陌生化阅读方式进行解读和阐释。同时,本文认为摩尔式的颠覆乃有限性颠覆,而不是后现代式的颠覆;这种颠覆又与其诗歌形式特点相吻合。

Marianne Moore is known for her radical innovation in poetic form,yet the radical form and conservative content of her poetry has long been considered as unresolvable contradiction.This thesis uncovers,through textual analysis,Moore’s notion of"hidden principle,"which theoretically proves the impossibility of the contradiction,supported by ideas on form by Theodor Adorno and Terry Eagleton.The thesis approaches covert female voices in her poems,voices either disappearing under radical form or mingled in Moore’s polyphony,which in turn disguises Moore’s subversion.The thesis tentatively concludes that Moore strategically hides her poems’"hidden principle"with her ways of estrangement,which means readers need corresponding strategy to read and decode her poems,and that Moore’s subversion is different from postmodernist subversion,in that hers is limited one,one that agrees with features of her poetic form.