“内在生命”的歌哭:论昌耀诗歌的晚期风格  

The Wailing Chant of“Inner Life”:The Late Style of Changyao’s Poetry

作　　者：万冲 WAN Chong(School of Liberal Arts,Nantong University,Nantong Jiangsu 226019)

机构地区：[1]南通大学文学院,江苏南通226019

出　　处：《江汉学术》2023年第6期99-107,共9页JIANGHAN ACADEMIC

基　　金：南通大学人才引进项目“中国现代诗歌中的自然书写”(135420601153)。

摘　　要：在生命的晚期阶段,昌耀敏锐地感受到“内在生命”——一个在生与死界限之间的纯粹赤裸生命,并创造了独特的表达方式——歌哭。昌耀晚期的歌哭写作,近乎突破语言的意义边界,在声音的层面进行诗学创造,为现代汉语注入了因承受苦难而生的悲悯语调,令语言成为了雕刻和铭记生命的碑石,为生命的苦难提供了语言的救赎。从歌哭的写作机制、音调特征、诗学意义等角度,可以深入分析昌耀诗歌的晚期风格,不仅能解开昌耀晚期写作的语言和形式谜题,深度探讨其创作得失,且能为现代汉语诗歌建立标杆和尺度提供有益的参照。In the late stages of his life,Changyao keenly felt the“inner life”,a pure naked life between life and death,and created a unique expression—wailing chant.Changyao’s late wailing chants almost break through the meaning boundary of language.They are poetic creations at the sound level,and inject a compassionate tone of suffering into modern Chinese,making language a monument for carving and remembering life;they provide a linguistic salvation for the suffering of life.The late style of Changyao’s poems can be deeply analyzed from the perspective of writing mechanism,tone characteristics,and poetic significance.Such analysis can not only solve the riddles of language and form in Changyao’s late writing,deeply delve into the gain and loss of his creation,but also provide a useful reference for establishing a benchmark and standard of modern Chinese poetry.

关 键 词：昌耀 当代诗歌 内在生命 歌哭 晚期风格 

分 类 号：I207.25[文学—中国文学]