非洲裔美国新现代主义、大众阵线与20世纪40-50年代先锋派黑人文学的兴起(英文)  

Kitchenette Correlatives: African American Neo-Modernism, the Popular Front, and the Emergence of a Black Literary Avant-garde in the 1940s and 1950s

作　　者：詹姆斯.斯摩瑟斯特 

机构地区：[1]美国马萨诸塞大学阿姆赫斯特分校

出　　处：《外国文学研究》2007年第4期23-35,共13页Foreign Literature Studies

摘　　要：与许多白肤色作家和批评家一样,第二次世界大战之后的非洲裔美国作家和批评家真切地承受着20世纪初期现代主义的遗产。一方面,他们有志于利用各种"精英现代主义"来塑造黑人主观世界和黑人经历,并借此大胆宣示非洲裔美国人在艺术领域的公民地位;另一方面,黑人作家们也清楚地意识到艾略特、庞德、艾伦·泰特等美国主要的现代主义领袖人物及其支持者表现出来的种族主义,所以在吸收他们成果的同时也对这种种族主义提出了质疑。美国新现代主义的兴起常常被认为是对随着冷战而得以强化的大众阵线的美学和文化体系的攻击,黑人新现代主义作家——许多都曾经是左翼活跃分子——却常常坚持与大众阵线艺术在形式上和主题上的联系,这一点使他们全然不同于白肤色同仁们。非洲裔美国作家与现代主义以及新批评派和纽约派所支持的20世纪40-50年代现代主义复兴的关系主要沿着两条轨迹发展:一是美国黑人新现代主义的兴起明显地受到冷战时期新现代主义复兴大气候的影响,这一点在非洲裔美国文学艺术中一直显眼;二是它推动了一种大相迥异却不无关联的更加平民化的非洲裔美国先锋文学的发展,将非洲裔美国精英艺术推到世界艺术表现的锋尖,同时又使之与非洲裔美国人的经历和表现文化不可避免地联系起来,尤其是与新的博普爵士乐联系起来。非洲裔美国文学中的新现代主义和更加平民化的先锋派,两者在许多方面都根植于20世纪30-50年代的黑人左翼文化与政治。Like many of their white peers, post-World War II African American writers and critics strongly engaged the legacy of early twentieth century modernism. They were interested in the utility of various strains of “high modernism” for the figuration of black subjectivity and experience as well as a tool for aggressively claiming African American artistic citizenship. At the same time, black writers were acutely aware of the racism of many of the leading U.S. modernists and their champions, such as T. S. Eliot, Ezra Pound, and Alan Tate, interrogating this racism even as they drew on their work. Also, while the neomodernist revival in the United States generally can be seen as an assault on the aesthetics and cultural institutions of the Popular Front as the Cold War intensified, black neomodernist writers, many of whom had been active on the Left, often maintained formal and thematic ties to Popular Front art in ways that distinguished them from most of their white counterparts. African American engagement with modernism and the modernist revival championed by the New Critics and the New York Intellectuals in the 1940s and 1950s developed essentially along two tracks. One track featured the rise of a black neo-modernism obviously influenced by the general Cold War neo-modernist revival, but also with a long foreground in African American literature and art. The other promoted a related, though in many respects opposed growth of a more populist African American literary avant gardism, positing African American high art both as on the cutting edge of world artistic expression and inextricably linked to African American experience and expressive culture, particularly the new jazz of bebop. Both the neo-modernist and more populist avant-garde strains of African American literature, though having a long foreground, were in many respects rooted in black Left culture and politics of the 1930s, 1940s, and early 1950s.

关 键 词：非洲裔美国诗歌现代主义 冷战 人民阵线 

分 类 号：I712[文学—其他各国文学]