狂欢与嬉戏:台湾诗人管管的语言喜剧  

Carnival and Play:Taiwan Poet Guan Guan’s Language Comedy

作　　者：杨小滨 YANG Xiaobin(Institute of Chinese Literature and Philosophy,Academia Sinica,Taipei 11529)

机构地区：[1]台湾“中研院”中国文哲研究所,台北11529

出　　处：《江汉学术》2021年第3期63-73,共11页JIANGHAN ACADEMIC

摘　　要：管管诗中的修辞特征与文化精神,可以从拉康的精神分析符号学及其他当代理论视角来观察。管管的超现实美学往往与狂欢风格融合在一起,以怪诞卑下的方式冲击了原本神圣的符号。从巴赫金的狂欢理论出发,可以一窥管管诗学中向怪诞与肉体的降格具有怎样的颠覆性潜能。管管还实践了一种不断滑动跳跃的言说策略,以历时性的超现实置换演示了能指的永恒变幻。从拉康对换喻与欲望的论述,我们也可以观察到管管的顶针修辞如何体现出对符号秩序的解构。管管诗学的主体困乏在很大程度上是传统文人狂放与自嘲精神的重新体现,古典狂狷形象与后现代主体可相互映照。而他诗中的游戏精神一方面是童趣的表征,同时也必须理解为对创伤经验及其符号化努力之间的永恒辩证:管管的诗歌语言是一次历险,一次对绝境的奋力突破。The rhetorical features and cultural spirit of Guan Guan’s poetry is studied from modern theoretical perspectives including Lacan’s psychoanalytic semiotics.Guan Guan’s surreal aesthetics is often integrated with the carnival style,posing an impact on the originally divine signs in an absurd and humble way.The subversive potential of degradation toward absurdity and body in Guan Guan’s poetics is observed based on Bakhtine's carnival theory.Guan Guan’s practice of a constantly sliding and jumping speech strategy demonstrates,with a diachronic surreal displacement,the eternal change of the signifier.Lacan’s theory on metonymy and desire helps readers to appreciate how Guan Guan’s use of anadiplosis deconstructs the order of signs.The subjective destitution in Guan Guan’s poetics is,to a large extent,the re-embodiment of traditional men of letter’s unrestrained attitude and self-mockery,a mapping of the classical wild image onto the post-modern subject.The game spirit in his poetry,being a feature of naivete on the one hand,must be interpreted as an everlasting dialectics between traumatic experience and the endeavor to signify it.The poetic language of Guan Guan is an adventure,a breakthrough from an impasse.

关 键 词：管管 台湾诗歌 超现实美学 修辞特征 意指游戏 

分 类 号：I207.25[文学—中国文学]