被榨干了的“语言诗”——兼评查尔斯·伯恩斯坦的诗集《衰人》

The Grape of Sapped Language Poetry:On Charles Bernstein’s Girly Man

目前,20世纪70年代兴起的美国"语言诗派"越来越受到我国外国文学界的高度关注,其卓尔不群的风格、奇崛突兀的结构、晦涩难懂的行文令研究者们瞪目结舌,他们绞尽脑汁,试图对这一诗歌流派寻找恰当的描述和定义。尽管我国研究者的译介工作已经取得了一些开拓性成果,但他们的定义却似乎把"语言诗"干瘪化,将读者推向一个更加无法解读的泥淖。本论文通过探讨"语言诗派"的历史文化背景,结合对其代表人物和理论家查尔斯·伯恩斯坦最优秀的诗集之一《衰人》的介绍,试图给读者呈现一个较易理解且真实丰满的"语言诗派"形象。

At present,American Language Poetry is attracting more and more attention in China.Its unusual and diverse styles,various weird structures,and strange abstruse textures have to a great degree astounded and enchanted Chinese critics,who rack their brains to understand and define it.Nevertheless,despite certain pioneering and fruitful achievements,those definitions seem to have sapped the plump grape of Language Poetry of its juicy nectar and made it look more like a raisin,leaving its readers more confused.This thesis intends to present a more accessible and multi-dimensional profile of Language Poetry through research into its historical and cultural background and introduction to an excellent collection of poems Girly Man （2006） and its author Charles Bernstein,one of the advocators of L=A=N=G=U=A=G=E Poetry.