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作 者:史丽玲[1,2]
机构地区:[1]华中师范大学外国语学院 [2]云南师范大学外国语学院
出 处:《外国文学研究》2012年第6期1-10,共10页Foreign Literature Studies
摘 要:欧诺瑞·F·杰弗斯是当代美国非裔诗歌与文学评论新生力量的代表人物之一,任教于美国俄克拉荷马大学,著有《烧烤福音》( 2000) 、《异乡布鲁斯》( 2003) 与《红土组曲》( 2007) 等诗集,曾获维克诗歌奖、朱莉娅·彼得金诗歌奖等。2012 年 11 月,受《外国文学研究》委托,华中师范大学博士研究生史丽玲在宾夕法尼亚大学访学期间通过电子邮件方式对杰弗斯进行了专访。本访谈以杰弗斯的诗歌作品为主线,兼顾其学者身份,围绕杰弗斯个体创作与美国非裔集体创作中的历史、布鲁斯诗歌、政治等重要议题展开。杰弗斯谈到在美国历史中确定自我是她历史书写的动力,而南方黑人经历与南方黑人文化等是其主要内容。她归纳了构成布鲁斯诗歌的七个要素,承认自己布鲁斯诗歌创作中的黑人女性主义视角,因此家宅空间和个体经历是她关注的重点。在整体上,三部诗集叙述了黑人女性经历磨砺考验,共同构成了布鲁斯史诗。对于身份政治问题,杰弗斯认为当代黑人诗人的艺术主体性仍然深受种族身份困扰。同时她强调自己的性属身份,认为人们忽视了黑人艺术运动时期的黑人女性运动,而她正是秉承了黑人女性前辈诗人的传统。Honorre Fanonne Jeffers is one of the leading figures in contemporary African American poetry and literary critics. As associate professor of English at the University of Oklahoma and author of three books of poetry--The Gospel of Barbecue (2000), Outlandish Blues (2003), and Red Clay Suite (2007) , she has won such literary honors as Wick Poetry Prize and Julia Peterkin Award for Poetry. In November 2012, Shi Liling, Ph. D. candidate at Central China Normal University and visiting scholar at University of Pennsylvania, interviewed Jeffers via email. Taking her identity of scholar into consideration, this interview focuses on Jeffer' s books of poetry, and the issues of history writing, the blues poetic and politics that are crucial both in her writing and African American writing as a whole. Jeffers said that to locate herself in American history is the dynamic for her history writing, and that the southern black experience and the southern black culture are its major content. She concludes the seven parts that consist of blues poem and points out non-black poets also could employ this form. She admits her black feminist perspective in her blues poetry writing, which is mainly about domestic sphere and private experience. In addition, her poetry explores black women' s epic trials and compose a blues epic. In regards to the identity politics, she thinks that contemporary black poets continue to wrangle with subjective notions of racial identity. Meanwhile, she emphasizes her gender identity and states that the black feminist movement going on at the same time as the BAM has not received enough attention, while she is an inheritor of a previous generation of black female poets.
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