虚拟的自由或夸张的表演——回望“下半身”诗歌运动

Assumed Freedom or Exaggerated Performance

“下半身”诗歌主张以“肉体的在场”作为一种反抗力量冲击现存诗歌秩序,但却自相矛盾陷入“肉体乌托邦”的牢笼中。其作品又多性话语泛滥,流于粗鄙和俗陋。“下半身”诗歌既是当代诗歌中“民间写作”的延续,同时也有着文化、思想、社会等多方面因素的影响,它的出现有其必然性。“下半身”诗歌的出场方式或许是一种“有意为之”的矫枉过正,是为了争夺话语权力而采取的一种“策略”,但它无意中却昭示和开启了世纪初诗歌的“身体转向”,凸显了当今时代身体观念的变革。

Poems on the “lower part of the body” advocates the presence of the body as a force to resist against the current poetic order, but it has imprisoned itself in the “Body Utopia”. The poems were full of sexual discourse and showed their lowness and roughness. The emergency of poems on the “lower part of the body” was inevitable because it was the development of folk poems, and at the same time, it was influenced by many factors like culture, ideology and society. The way it appeared was seen as a deliberate action or a strategy to fight for discourse right. Accidentally, it has started a new era of poetic writing on the body and shown the change of concept concerning body.