卡明斯诗学中的马戏团崇拜与跨媒介性  

The Circus Adoration and the Intermediality in E.E.Cummings’Poetics

作　　者：黄珊云 Huang Shanyun(School of English Studies,Shanghai International Studies University,Shanghai 200083,China)

机构地区：[1]上海外国语大学英语学院

出　　处：《外国文学研究》2020年第6期120-130,共11页Foreign Literature Studies

基　　金：上海外国语大学“导师学术引领计划”项目(41003604)。

摘　　要：美国现代诗人E.E.卡明斯以视觉化的具象诗著称。学术界已经充分阐释了其诗歌中包含的“绘画性”,却忽略了舞台表演艺术对卡明斯诗学现代性的影响。卡明斯对马戏表演的崇拜情结是其现代诗学、尤其是具象诗学中的一个不可忽视的元素。卡明斯的“马戏团崇拜”不能被简单等同于流行文化对诗学的介入,而本质上是对现代戏剧的一种批判观点,也是对古希腊时期戏剧的“非程式化”形态的一种追溯;卡明斯通过对“杂耍者”身体的聚焦,试图营造巴赫金式的原始狂欢体验,并抵制“语言”在现代诗学中的中心地位;在卡明斯看来,具象诗艺术是“跨媒介”的,其具有一种不可翻译的“表演性”,是马戏表演而不是绘画更准确地隐喻了现代诗歌的本质精神。E.E.Cummings,an American modernist poet,is well-known for his visualized concrete poetry.Existing studies in the academia have fully illustrated the“painterly”quality of his poetry,but largely ignored the influence on the modernity of cummings’poetics from the art of stage performance.cummings’worship of the“circus”is a non-neglibile element of his modernist poetics,especially his concrete poetics.cummings’“circus adoration”should not be simply perceived as the intervention in poetics by the popular culture,for it is,in essence,a critical stance toward modern theater,as well as a retrospective look at the“anti-stylization”of the ancient Greek drama.By focusing on the body of the“acrobat”,cummings attempts to regenerate the Bakhtinian experience of primitive carnivals,while at the same time rejecting the dominant position of“language”in the modernist poetics.In cummings’s view,the art of concrete poetry is an art of“intermediality”with a sort of untranslatable“performativity”,so it is the circus performance,rather than painting,that emblemizes,more precisely,the essence of the modernist poetry.

关 键 词：卡明斯 马戏团 戏剧 具象诗 跨媒介 

分 类 号：I712.072[文学—其他各国文学]