摘要
关于哈莱姆文艺复兴这场非洲裔美国历史上最伟大的艺术运动的论述中,几乎无一例外地将它的缺点与波希米亚形象(即19世纪中叶欧洲浪漫主义意识形态发明的生活放浪不羁、反对资产阶级的艺术家形象)联系在一起。然而,本文却认为位于纽约哈莱姆南端的波希米亚社区格林威治村正是这场黑人艺术运动关键的孵化器。通过考察牙买加出生的诗人克劳德·麦凯,本文认为哈莱姆文艺复兴早期具有开拓性的部分诗作同时也是为格林威治村的波希米亚群落而作,尤其是麦凯早期创作的极具影响力的爱情诗集《哈莱姆身影》(1922年)。如若不将它作为"抒情左翼"的元抒情诗来听,难以得其要旨。所谓"抒情左翼",是指格林威治村波希米亚主义的政治之锋,旨在打破凝思与行动之间的屏障、性解放与经济解放之间的屏障、艺术家工作室与革命者街垒之间的屏障。一旦回到这个善于用言语表达的波希米亚群落之中,麦凯被忽略的爱情诗就在以一种当时被认为波希米亚式的睿智质疑自我-公众的联通中显示出其大众价值观。可以说,正是通过这种质疑,一如他通过对黑人战斗性的礼赞,他的诗歌"策划"了"哈莱姆文艺复兴"。
Few accounts of the Harlem Renaissance, the most significant artistic movement in Af-rican-American history, fail to link its failings to the figure of the bohemian, the type of the freeliving anti-bourgeois artist invented in the Romantic ideology of mid-nineteenth-century Europe. By contrast, this essay suggests that the bohemian community of Greenwich Village, a New York neighborhood far south of Harlem, was in fact a crucial incubator of the black renaissance. Considering the case of the Jamaican-born poet Claude McKay （ 1889 - 1948）, I argue that some pioneering Harlem Renaissance verse is also an opinionated contribution to the conversational community of Village bohemia. In particular, I make the case that the love poems in McKay＇ s Harlem Shadows （ 1922）, the most influential early book of black poetic modernism, cannot communicate without being heard as meta-lyrics of the “lyrical left,” the political edge of Village bohemianism that aimed to break down the barriers between contemplation and action, sexual and economic liberation, the artist＇ s studio and the revolutionary barricades. Returned to the talkative territory of Village bohemianism, these neglected love poems disclose the public value in questioning some of the private-to-public relays then assumed in bohemian wisdom. In this questioning, as much as in McKay＇ s tribute to New Negro militancy, his verse can be said to have plotted Harlem＇ s Renaissance.
出处
《外国文学研究》
CSSCI
北大核心
2007年第4期36-44,共9页
Foreign Literature Studies
