反抗引力：论泰辛巴·杰斯的切分音商籁体诗（英文）  

Defying Gravity:Tyehimba Jess’s Syncopated Sonnets

作　　者：布莱恩·里德 Brian Reed(University of Washington,Seattle,USA.)

机构地区：[1]美国华盛顿大学西雅图分校

出　　处：《外国文学研究》2019年第6期27-42,共16页Foreign Literature Studies

摘　　要：本文探讨泰辛巴·杰斯诗集《奥利奥》中一个引人注目的层面,即"切分音商籁体诗",诗中的整行或半行可以任凭读者随心所欲地按照任何顺序来读,由下而上或由上而下,或对角斜穿。而且,这些诗,尤其是那些从连体孪生姐妹米莉·麦考尔和克里斯汀·麦考尔的视角写就的诗,含有双重或多重叙述的声音,时而吻合,时而分离,部分、但并非全部清晰可辨。《奥利奥》抵制前行的时间性(递进、叙事进展),相反允许捉摸不透、徘徊不定和反复迂回式的推进模式、片刻之间的滞留,以及超越美国白人至上历史和意识之外的共性。在诗集里,杰斯自始至终探究安东尼·里德所说的自由时间。这是黑人诗歌中坚持不懈的努力,为的是走出由白人殖民者一手制造、沿袭成规及督查维持的历史,进入一个充满极端可能的时间性,在此期间一切都能,或许已经能,成为截然不同的另类。This essay explores one striking aspect of Tyehimba Jess’ s Olio, namely, its "syncopated sonnets," poems whose lines and half-lines can be read in any order, up or down or diagonally, as a reader wishes. Also, these poems, especially the ones written from the point of view the conjoined twins Millie and Christine Mc Koy, contain two or more voices that merge and separate, becoming partly but not wholly distinguishable. Olio opposes a temporality of forward movement - of progress, of narrative development - and licenses instead a wondering, wandering, and circling manner of movement, an inhabitation of a moment, and a collectivity outside the history and ideology of American white supremacy. Throughout, Jess explores what Anthony Reed has called freedom time, the recurrent effort in Black poetry to exit from history-as produced, codified, and policed by white colonizers - and enter into a temporality of radical possibility, where everything could be, and might have been, otherwise.

关 键 词：美国非裔诗歌 视觉诗 商籁体诗 诗歌与历史编撰 

分 类 号：I712.072[文学—其他各国文学]