周亚平诗歌形式实验简论

A Brief Discussion to ZHOU Yaping's Poetic Form Experiments

在一个有着强大的"重道轻文"传统的国度里,每一次形式革命都是对文学独立性的巨大尊重,因此也通常具有里程碑意义,并对后世创作产生影响。中国新诗在形式上的实验也在断断续续进行。20世纪八九十年代之交,以民刊《原样》为主要阵地,集结了一批在理论上明确提出形式实验主张,并在创作中自觉将之实践的诗人。周亚平是其中的代表。他认为,对于诗歌来说,只有"形式"才是最重要的,而"思想"是有限的,是一种"肤浅"的束缚。他的创作实践与理论呼应:首先在语言(文字)本身的实验上,以带有即时性、随意性、反复无常性的自由联想和诉诸感官的秾丽辞藻进行写作;其次在观察和呈现事物的方式上,抛开叙事和抒情,强调以"描写"来"恢复"事物的"具体姿态和基本成分",将对事物本身的兴趣置于任何伟大思想之上。此外,本文还讨论了周亚平形式实验蕴含的其他一些容易被忽视的问题。

In a country like China where extreme priority is given to morality essences over literature, every form revolution shows great respect to literary independence, and accordingly has milestone significance and leaves a strong influence in following literary writing practice. At the same time, form experiments in Chinese modern poetry are also in progress intermittently. Throughout the 1980s and 1990s, a non- government run journal Yuan Yang assembled a team of poets who clearly put forward form experiment theory, and carried it out in practice. ZHOU Yaping was one of the representatives, who held that only ＂form＂ mattered most in poetry, while ＂thought＂ was restricted in a ＂superficial＂ constraint. His creative writing practice echoed his theory ： Firstly, he experimented with language itself （words） in the manipulation of spontaneous, random and abnormal associa- tions, besides gorgeous sensational words and phrases. Secondly, he emphasized ＂restoration＂ of ＂specific postures and basic components＂ through ＂description＂ in his observation and presentation, putting his interest in things themselves over any great thoughts. Finally, this paper also discusses some overlooked problems involved in ZHOU Yaping＇ s form experiments.