“朦胧诗”后先锋诗歌历史的两种叙事——从90年代先锋诗人阵营内部的论争、分裂谈起  

The Two Narratives of the History of Avant- Garde Poetry after the“Misty Poetry”

作　　者：姜玉琴[1] 

机构地区：[1]上海外国语大学文学研究院

出　　处：《文艺理论研究》2013年第2期134-144,共11页Theoretical Studies in Literature and Art

摘　　要：20世纪90年代先锋诗人的文学史意识空前高涨,有不少诗人都自备了详细的"创作活动年表";有的诗人明确提出要为文学史写作;更多的诗人由于不满学院派批评家的规范尺度和审美准则,在创作之余更是直接介入到理论批评的写作以及诗选集、诗论集的编纂、出版工作之中。90年代的当代先锋诗坛,诗人们上演了一场"自己的诗歌自己做主"的戏。诗人们这种直接参与到理论研究以及文学史写作中的热忱,大大影响,甚至在某种程度上改写了当代先锋诗歌的研究格局。In the 1990s, the avant -garde poets had a very strong consciousness of literary history, and some had even kept a detailed record of creative activities. While some proclaimed that they were writing for literary history, there were more poets who, unsatisfied with the aesthetic norms and rules advocated by the scholastic critics, would engage themselves into the critical prac- tice by writing essays, editing poetry anthologies and compiling collections of critical essays on poetry. In the 1990s＇ avant- garde poetic circle, the poets managed to be the masters of their own poetry, and their active engagement into the theoretical ex- ploration and the intervention of poetic practice into the literary history helped to mould the general framework of contemporary avant - garde poetry.

关 键 词：先锋诗人 先锋诗歌史 诗歌史 命名 

分 类 号：I207.25[文学—中国文学]