身份意识:由单一性到多样化——论休斯之后美国黑人诗人身份意识的嬗变  

From Oneness to Diversification:On the Change of the Sense of Identity of American Black Poets after Langston Hughes

作　　者：北塔[1] 

机构地区：[1]中国作家协会现代文学馆,北京100029

出　　处：《外国文学》2008年第6期60-66,共7页Foreign Literature

摘　　要：休斯是美国迄今最伟大的黑人诗人,他去世于1967年,这一年因此而标志着黑人诗歌的一个时代的终结和另一个时代的肇始。从1960年代后期到1970年代前期,很多黑人诗人充当起革命斗士和时代先锋的角色,为争取基本人权摇旗呐喊,特别强调自己的黑人身份,极端维护他们的种族意识。他们无条件地甚至歇斯底里地歌颂黑色、非洲和属于黑人的一切,认为黑色是最崇高、最美好的色彩。大约到1970年代中期,黑人的革命诗歌基本已经消弭。但是,黑人诗人们把对革命的激情转移到了诗歌本身。如果说在革命运动高涨时期,黑人诗人们在黑人和诗人这两种不同而交叉的身份的意识上更多倾向于前者的话,那么,从1970年代中期之后,他们主要倾向于后者。1970年代中期以来黑人诗歌的另一个倾向是:注重文化内涵和形而上思维。From the late 1960s to early 1970s,many black poets served as revolutionary fighters and avant-couriers of the age,banging and drumming for those who were striving after basic human rights,with especial emphasis on their own identity of blackness and their consciousness of race. They paid a tribute to blackness,Africa and everything related to black people,unconditionally and even hysterically with the opinion that black is the most sublime and beautiful color. Up to the middle 1970s,black poets put an end to revolutionary poetry,and shift to poetry itself. The sense of identity of a black person and that of a poet are different from each other,but can be intersectional. Another inclination of black poetry since then is that it has come to pay close attention to cultural connotations and metaphysical thinking.

关 键 词：身份意识 黑人诗歌 休斯之后 

分 类 号：I712[文学—其他各国文学]