论查尔斯·伯恩斯坦的回音诗学

On Charles Bernstein’s Echopoetics

回音诗学定义虽很含混,效果却很明确——消解单一声音的权威性。这也解释了为何抵制命名、抵制任何标签式术语的查尔斯·伯恩斯坦,愿意用“回音诗学”来概括他的诗歌与诗学。在强调语言的自足性、提倡反吸收技巧、持动力诗学观、重视过程写作等方面,回音诗学延续了伯恩斯坦“以语言为中心的写作”观。回音诗学对语言“对话性”的青睐与巴赫金对“复调”语言的偏爱有异曲同工之妙。回音诗学的定义、该术语名下的系列访谈及伯恩斯坦的剧作《阴影时光》都充分体现其“对话性”。

Ambiguous in definition as it is,the effect of echo poetics is distinct—to eliminate the authority of a single voice.This explains why Charles Bernstein,who resists naming and labeling chooses to sum up his poetry and poetics in the term“echopoetics.”Echo poetics carries on with Bernstein’s ideas of language-centered writing in such aspects as emphasizing self-contained language,promoting anti-absorption techniques,upholding a dynamic poetics,and stressing process writing.Its favor for dialogic language is similar to Bakhtin’s preference for polyphony.The dialogism of echopoetics is demonstrated not only in its definition,but also in a series of talks in this name and in Bernstein’s libretto entitled Shadow time.