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作 者:钱兆明 Qian Zhaoming
机构地区:[1]不详
出 处:《外国文学研究》2021年第4期154-163,共10页Foreign Literature Studies
基 金:国家社科后期资助重点项目“跨越与创新:西方现代主义的东方元素”(19FWWA001)。
摘 要:斯奈德的《牧溪的柿子》再现了牧溪《六柿图》"色空相即"的参禅开悟之旅。对照牧溪13世纪的《六柿图》细读斯奈德21世纪的《牧溪的柿子》,我们会发现该诗采用了禅门公案"绕路说禅"的模式,其激发开悟的手法却似法国艺术家杜尚100年前尝试打开第四维度的《大玻璃》。《大玻璃》诱发遐想靠的是杜尚所谓"玻璃中的眷留"。《牧溪的柿子》激发开悟则是通过在词语、音韵上做文章,让读者"眷留",捉摸"弦外之音"。美国评论家帕洛夫指出,21世纪诗人"更欣赏杜尚的玻璃中的‘眷留’"。脱离文学艺术作品,很难讲清楚什么是"眷留"。用"眷留"理念阐释斯奈德21世纪的禅诗却可以一举两得——在讲清该诗禅意识的同时,弄明白杜尚提升"陌生化"诗学并将之用于探索第四维度的前卫理念。Gary Snyder’s"Mu Chi’s Persimmons"represents what Mu Chi depicts in his Six Persimmons,namely,a journey of enlightenment through Chan about the concept of"form and emptiness as interbeings."Through a careful reading of Snyder’s poem,written in the 21 st century,in comparison to Muqi’s painting,Six Persimmons,created in the 13 th century,we will discover that the poem adopts the mode of Zen koans to insinuate the multi-layered implications of Chan,and that its strategy to prepare for the enlightenment,however,seems quite similar to the French artist Duchamp’s attempt to open the fourth dimension in his The Large Glass one hundred years ago.While The Large Glass depends on what Duchamp terms"delay in glass"to let the imagination fly,"Mu Chi’s Persimmons"relies on words and sounds to provoke enlightened readings,urging readers to"delay"in reading and ascertain"undertones."Poets in the 21 st century,as Marjorie Perloff,an American critic,points out,seem"much more attuned to the ready-mades,the‘delays’in glass and verbal enigmas of Marcel Duchamp."It is hard to define what this"delay"means without engaging any works of literature and art.Analyzing Snyder’s Chan poem in the 21 st century based on the concept of"delay"may kill two birds with one stone:While clarifying the essence of Chan,we can also figure out Duchamp’s avant-garde idea about enhancing the poetics of"strangeness"and applying it in probing into the fourth dimension.
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