历史延长线上的追问与在场——《全沉浸末日脚本》与《火星生活》比较研究

“Questioning”and“Being Present”on the Extended Line of History:A Comparative Study of Total Immersion Apocalypse Script and Life on Mars

美国女诗人特蕾西·史密斯(Tracy K.Smith)的诗集《火星生活》和翟永明的诗集《全沉浸末日脚本》在题材与结构上都有一定相似性。两部诗集均从科幻角度入手进行宇宙“终极之问”的叩问和后人类想象,从环境、主体和存在三个角度切入文本中的科幻世界。同时,她们带着敏锐的女性视角进入诗歌,尝试了诗歌与其他艺术文化的“跨界”,并在其中注入了女性诗人一以贯之的隐痛发现与女性沉思。在完成了关于科幻题材与女性现实主义的“出走”之后,诗人们选择回到诗歌本身,挖掘从“故事”到“出发”的诗歌形成路径,从而达到一种在历史延长线上不断进行追问与在场的“未完成”,构成当代女性诗歌的特别图景。

There are certain similarities in the themes and structures between the poetry collection Life on Mars and Total Immersion Apocalypse Script.Both poetry collctions explore the“utimate question”of the universe and posthuman imagination from a science fiction perspective,delving into the science fiction world from the perspectives of environment,theme,and existence.At the same time,they bring a keen female perspective into poetry,attempting a“crossover”between poetry and other cultures,and injecting the pain and contemplation of female poets.After their“departure”from science fiction themes and female realism,the poets choose to return to poetry itself,exploring the path of poetry formation from“story”to“departure”,thus achieving a kind of continuous questioning and presence“unfinished”on the historical extension line,constituting a picture of contemporary female poetry.