我行我素,归真返朴——赵丽华与中国当代诗歌的还原式命名  

Tenacious Individuality and Persistent Simplicity——ZHAO Lihua and Reductive Naming in Contemporary Chinese Poetry

作　　者：薛世昌[1] 马超[1] 

机构地区：[1]天水师范学院文学与文化传播学院,甘肃天水741001

出　　处：《南京理工大学学报（社会科学版）》2016年第6期28-35,共8页Journal of Nanjing University of Science and Technology：Social Sciences

基　　金：2015年度教育部人文社科西部项目"现代诗歌内形式研究"(编号:15XJA751003);国家社科基金项目"中国现当代女性文学与妇女解放思潮互动关系研究"(编号12BZW101)

摘　　要：赵丽华是中国当代"还原式命名"的文学蓝军中一员骁勇的女将。她真切而紧贴生活的写作中,一个突出的艺术追求是从内容到形式的归真返朴。这一追求也是罗兰·巴特所谓"写作的零度"这一文学认知在中国当代诗歌中一个重量级的诗歌实践。怀揣着玉宇澄清之诗歌志向的赵丽华所有那些去魅的、去神性的、去伪饰的文字,让她的诗歌一步一步地前往着"曾经"的背面、"历史"的源头、感觉的"原点"而体现出强烈的艺术命名的"原生态"特点。她试图在那些意义归零的地方开始意义的重建。赵丽华的还原式命名,首先表现在她对"大词"的警惕,其次也表现在她对"拒绝隐喻"的警惕。她的还原式命名是回到具体的命名,也就是变"正理"为"歪理"的命名。当然,她的写作有时候也因为还原的过份而难免沦落入庸常的现实。ZHAO Lihua is a valiant reduetive naming figure in the contemporary Chinese literary female blues. Her outstanding artistic pursuit is ultimate closeness to genuine and authentic life and simplicity in both the content and the form. This can also be regarded as a heavy-weight poetic practice in contemporary Chinese literature of what is referred to as ＂zero writing＂ in Roland Bart＇ s literary cognition. ZHAO Lihua is armed with the ideal of universal poetic clarification, so her words and lines totally re- linquish divinity, disguise and ornament. Step by step, she leads her poetry to the reverse side of ＂past＂, to the source of ＂histo- ry＂, and to the ＂origin＂ of sensation. All of these reflect her primitive literary ecology in artistic naming. She attempts to recon- struct meaning after meaning is deconstructed to nothing and emptiness. ZHAO Lihua＇ s reduetive naming is first reflected in her vigilance of so - called ＂big words＂, together with her refusal to metaphor. Her reductive naming is to return to specificity which is to turn what is ＂right＂ into what is ＂sophistry＂. Of course, her excessive reduction will sometimes inevitably slide into mediocre.

关 键 词：零度写作 当代诗歌 还原式命名 赵丽华 

分 类 号：I052[文学—文学理论]