奥斯维辛灾难与美国后现代主义诗学的发生  

作　　者：尚婷[1] 

机构地区：[1]太原师范学院

出　　处：《复旦外国语言文学论丛》2017年第3期113-117,共5页Fudan Forum on Foreign Languages and Literature

基　　金：国家社会科学基金项目“美国后现代诗歌与中国第三代诗歌比较研究”(11CWW004,主持人:尚婷);全国高校外语教研项目“美国后现代诗歌在中国的译介传播及汉化机制研究”(2014SX0001A,主持人:尚婷)

摘　　要：阿多尔诺所预言的＂奥斯威辛之后诗歌不复存在＂,在二战后的美国并没有出现。恰恰相反,基于对西方根深蒂固的＂形而上学＂的深刻反思、对近现代高度发达的理性意识的严厉批判,战后美国诗歌迅速挣脱了既往的审美程式和抒情模式,而以＂能量投射＂来重新定义诗歌,在语言狂欢、诗体解放中求取写作与生命的同构。黑山派、垮掉派、自白派等一大批具有国际影响的后现代诗群出现在20世纪下半叶的美国诗坛。不容忽略的是,以查尔斯·奥尔森为代表的先锋诗人在以激进的＂反传统＂姿态摧毁现代主义诗歌堡垒之时,又吸纳了＂庞德——威廉斯＂一脉的后现代因子,顺应并推动了美国社会文化的后现代转型。＂Poetry after Auschwitz will not exist !＂ The prophecy made by Adorno does not appear in the United States after World War II. On the contrary, based on a profound reflection on the deep-rooted western ＂metaphysics＂ and a harsh criticism on the highly developed rational consciousness, the postwar American poetry quickly gets rid of the previous aesthetic program and lyrical mode. It redefines poetry from ＂energy projection＂ and pursues the isomorphism of writing and life in language carnival and verse liberation. A large number of postmodem poetry groups with international influence like the Black Mountain School, the Beat Poets and the Confessional Poetry School appear in American poetry in the second half of the 20th century. Undoubtedly, the vanguard poets represented by Charles Olson, when destroying the fortress of modem poetry with a radical ＂anti-traditional＂ attitude, absorb the postmodern factor ＂Pound--Williams＂, which adapts to and promotes the postmodem transformation of American culture.

关 键 词：奥斯维辛 后现代主义 美国诗歌 形而上学 

分 类 号：I712.072[文学—其他各国文学]