叛逆、疯狂、表演的金斯堡——《嚎叫》的文本细读  

Rebellious,Crazy,Performing Ginsberg:A Close Reading of The Howl

作　　者：乔国强[1] 姜玉琴[2] 

机构地区：[1]上海外国语大学英语学院 [2]上海外国语大学英语文学研究所,上海200083

出　　处：《四川外语学院学报》2007年第1期13-17,共5页Journal of Sichuan International Studies University

基　　金：2003年国家社科基金资助项目<文化视域中的美国犹太文学>;项目编号:03BWW015

摘　　要：《嚎叫》的主导思想是通过对肉体能量的疯狂释放来解构、亵渎、颠覆神圣。所以,该诗涉及的内容、领域极为丰富、广泛,从吸毒、同性恋到监狱、精神病院,都有全景式的扫描。该诗大幅度地跳跃、转换,使不少批评家认为《嚎叫》是自发、情绪化的产物。其实不然,《嚎叫》在内容和结构上有着严密的逻辑性。甚至从某种程度上说,它几乎是按照论文的方式——论点、论据、论证过程以及注释来完成的。《嚎叫》是后现代主义文化语境中的产物,它既有深刻、正义、严肃的思考,也有表演、畸形、荒诞的人格心理。One of the major themes of The Howl is to deconstruct, profane and subvert what are conventionally regarded divine through crazily releasing the energy of human body. The poem is rich in presenting social issues, such as the issues of drugs, homosexuality, prisons, and lunatic asylums. Many critics argue that the poem is but a product of spontaneity and moodiness because of the dramatic jump and twist in presentation. Nevertheless, the poem is actually quite logically organized. It might be said that it is written in the form of an essay, which has arguments, evidences and notes. In a sense, The Howl is a product of the postmodernism. It not only offers some insightful, just and serious thinkings, but also reveals a kind of performing, deformed and absurd personality.

关 键 词：疯狂 表演 嚎叫 神圣 金斯堡 

分 类 号：I712.074[文学—其他各国文学]