现成品艺术与蒲龄恩《珍珠,是》之七背后的中国当代诗  

Readymade Art and the Chinese Poem Behind No.7 of Prynne’s Pearls That Were

作　　者：钱兆明[1] Qian Zhaoming

机构地区：[1]杭州师范大学外语学院

出　　处：《中国比较文学》2022年第2期3-13,共11页Comparative Literature in China

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”(编号:19FWWA001)的阶段性成果。

摘　　要：英国剑桥诗人蒲龄恩的《珍珠,是》之七是一首脱胎于中国当代诗人车前子诗的现成品艺术诗。该组诗有20首诗,虽引发了不少评论,却尚未有人关注其第七首诗背后的中国当代诗,也未见有人从杜尚现成品艺术的角度对之加以解读。本文从蒲龄恩《珍珠,是》改写的英国文艺复兴时期和浪漫主义时期经典诗句切入,聚焦并剖析《珍珠,是》之七对一首英译车前子文字诗的转换与改造,并在此基础上探究何谓现成品艺术诗,以及现成品艺术诗与抄袭、翻译有何本质区别。No.7 of Pearls That Were by the Cambridge poet J. H. Prynne is a readymade poem grown out of a version of a poem by contemporary Chinese poet Che Qianzi. Although the 20-poem sequence has received wide critical attention, it never appears to have been read in the context of Marcel Duchamp’s readymade art, let alone in reference to a contemporary Chinese poem. This paper, beginning with a brief discussion of readymade lines from classic English poetry in the British Renaissance and Romantic period, focuses on No.7 of the series to reveal what in the Che Qianzi poem has been assimilated and what has been transformed. From this, the paper moves on to explore what readymade poetry is and how it differs from plagiarism and translation.

关 键 词：蒲龄恩 《珍珠 是》 车前子 杜尚 现成品艺术 

分 类 号：I106.2[文学—世界文学]