论弗兰克·奥哈拉诗歌的坎普美学  

On the Camp Aesthetics in Frank O’Hara’s Poems

作　　者：朱丽田[1] 王思佳 ZHU Litian;WANG Sijia(School of Foreign Languages,Southeast University,Nanjing 211189,China)

机构地区：[1]东南大学外国语学院,江苏南京211189

出　　处：《浙江外国语学院学报》2021年第3期94-100,共7页Journal of Zhejiang International Studies University

基　　金：国家社会科学基金项目“20世纪美国诗歌中先锋画派影响研究”(18BWW084);教育部人文社会科学研究项目“跨艺术诗学视域下的美国纽约派诗歌研究”(16YJA752018)。

摘　　要：美国纽约派诗人弗兰克·奥哈拉的诗歌在战后先锋文学中独树一帜,其作品不仅具有明显的跨艺术特点,也再现了桑塔格所强调的坎普美学特色。本文以坎普的特征为切入点,从语言风格、情感主题和死亡意象三个方面论证诗人的美学思想。奥哈拉以戏谑而夸张的诗歌语言书写了对现代艺术的思考,探讨了以同性情感为代表的亚文化问题,并通过非传统的坎普式预言流露出自己对死亡的复杂情感,最终在诗作中形成了独特的坎普美学风格。As a New York School poet in postwar avant-garde literature,Frank O’Hara is uniquely and distinctively known for his poetry on account of its conspicuous inter-arts characteristics,as well as the so-called camp aesthetics.This paper attempts to illustrate the relationship between the poet’s concept of creation and camp aesthetics from three perspectives respectively,namely his style of language,emotional motifs and the death image.O’Hara’s campy aesthetic style in poetry writing can be concluded from three aspects:First,he elaborates on modern arts with playful and exaggerated poetic words,and secondly,he probes into subcultural problems,and finally,he expresses complicated feelings towards death in his non-traditional campy prophecies.

关 键 词：弗兰克·奥哈拉 纽约派诗人 坎普美学 先锋 跨艺术 

分 类 号：I106.2[文学—世界文学]