双语写作、克里奥尔化与动态诗学——论马琳·诺比斯·菲利普的语言观与诗学策略

Bilingualism,Creolization and Kinopoesis:On Marlene Nourbe Se Philip's View of Language and Poetic Strategies

当代流散非裔加拿大籍加勒比女诗人马琳·诺比斯·菲利普(1947-)始终保持高度的语言自觉,采用双语写作,在父语(标准/帝国/白人/基督教英语)和母语(非洲语言和加勒比通俗口语)之间找到平衡。加勒比通俗口语既是一种克里奥尔化的动态语言,遵循菲利普的动态诗学,符合非洲美学标准,又是一种打破标准英语的语法、语义规范和既定表达模式的狂欢化话语,折射出菲利普解构西方语言和文化霸权的政治诉求。菲利普的诗学策略(双语写作、克里奥尔化、动态诗学)为她赢得了更多表达的自由和空间,用以打破沉默,建构文化身份,挑战西方经典的诗歌表现手法和体裁标准,同时,重构非裔加勒比人自己的形象、神话和历史,揭示暴利驱使下殖民者人性的泯灭和历史的失控,实现文本的历史意义增值。

Marlene NourbeSe Philip （1947 - ）, a contemporary diasporic Afro-Canadian Caribbean poet- ess, remains a highly self-conscious user of language and chooses to be bilingual and balances between her father tongue （the standard/ imperial/ white/ Christian English ） and her naturally formed mother tongue （ African languages and the Caribbean demotic of English）. The Caribbean demotic is both a creol- ized dynamic language following her ＂kinopoesis＂ （the poetics of moving and kinetics）, which is part of the African aesthetic, and a carnivalesque discourse breaking through the laws and established patterns of standard English censored by grammar and semantics, which reflects Philip＇ s political aspiration to decon- struct the hegemony of western language and culture. Philip＇ s poetic strategies, namely bilingualism, cre- olization and kinopoesis, provide her with more freedom and space to break the silence, to establish her own cultural identity, to challenge the conventions of classical western poetic devices and genre patterns, to recreate the Afro-Caribbean people＇ s own images, myths and history, to expose the inhumanity of profit-driven colonists and the uncontrollability of history, and to add more historical value to her texts.