安妮·塞克斯顿主体书写的自反性

Self-Reflexivity in Anne Sexton’s Writing of Subject

安妮·塞克斯顿主体书写中的抵牾之处颇值得关注:诗人一方面将生平素材纳入以言说者为主体的诗体框构,给人以明晰可读的阅读预设;另一方面却极力消解言说者作为抒情诗之叙事主体的传统地位,其语言织体所呈现的闭合、晦暗等特征也都与上述预设背道而驰。这种自反性书写的动因及价值指归源于对弗洛伊德精神分析话语的吸收。诗人在创作中奉行梦与潜意识的运行法则,其具体路径表现为对“自动写作”原则的诉诸,即强调词语的自律自足而将言说者降级为被动的“中介”。这动摇了主体书写的核心立足点,并由此对自传式批评提出了挑战。这些方面与巴特“作者之死”的相关论点恰成呼应,在后者的观照下,塞克斯顿反思主体性的诗学立意获得彰显,促使我们对传统自白话语模式做出重新界定。

A contradiction in Anne Sexton’s writing of subject is worth exploring:on the one hand,the poet brings autobiographical elements into a poetic structure,centered around the speaker as subject,to induce the reader to expect clarity and readability;on the other hand,though,she undermines as much as possible the speaker’s traditional position as the subject of lyric narrative with various textual features,such as closure and obscurity,a move that seems to run counter to the reader’s expectations.The motive and value of such kind of self-reflexive writing were originated from the appropriation of Freud’s psychoanalytical discourse.In her writing,the poet adopts the practice of interpreting dream and subconsciousness with a specific approach that relies on the principle of“automatic writing,”namely,stressing the autonomy of words while downgrading the speaker’s role to a passive“intermediary.”Such subversion undercuts the foundation of subjective writing and thereby challenges autobiographical interpretation.Sexton’s moves on these aspects resonate with Barthes’notions in“The Death of the Author.”With reference to Barthes,Sexton’s innovation in rethinking subjectivity may be thrown into sharp relief,thus compelling us to reconceptualize the mode of the traditional confessional discourse.