追隨可能性-羅伯特.克里利詩(shī)歌尺度研究

內(nèi)容概要

　　《追隨可能性：羅伯特·克里利詩(shī)歌尺度研究（英文版）》探討了美國(guó)投射派詩(shī)人羅伯特·克里利關(guān)于詩(shī)歌及其形式、語(yǔ)言和情感的四個(gè)尺度：①詩(shī)歌是詩(shī)人自身現(xiàn)象性的衡量；②形式是內(nèi)容的延伸；③詞語(yǔ)是事物：④情感是詩(shī)歌的首要尺度?！　?ldquo;詩(shī)歌是詩(shī)人自身現(xiàn)象性的衡量”這一尺度強(qiáng)調(diào)時(shí)間的偶然流動(dòng)，強(qiáng)調(diào)瞬間先于形式，強(qiáng)調(diào)同一性主體的消解以及世界的碎片性。“形式是內(nèi)容的延伸”尺度則是投射詩(shī)三原理之一，它推翻形式與內(nèi)容的二元對(duì)立，豐富了詩(shī)歌內(nèi)容和形式的可能性。“詞語(yǔ)是事物”的尺度涉及詩(shī)歌語(yǔ)言；在克里利的詩(shī)歌中，該尺度從四個(gè)方面得到體現(xiàn)：①阻礙語(yǔ)言和現(xiàn)實(shí)的聯(lián)系；②直接以言行事；③削弱語(yǔ)言的主觀性；④凸顯語(yǔ)言自身特質(zhì)。“情感是詩(shī)歌的首要尺度”，正因?yàn)榭死锢瑫r(shí)遵循其他三個(gè)尺度，他的情感表達(dá)方式與浪漫派和自白派詩(shī)人大相徑庭。　　克里利的四個(gè)尺度相互緊密聯(lián)系著。一方面，遵循一個(gè)尺度意味著同時(shí)遵循其他尺度；另一方面，違背一個(gè)尺度也將背離其他尺度。這四個(gè)尺度繼承并發(fā)展了惠特曼-龐德-威廉斯以降的美國(guó)詩(shī)歌傳統(tǒng)，為語(yǔ)言詩(shī)的發(fā)展做出了重要的貢獻(xiàn)。

作者簡(jiǎn)介

　　劉朝暉 1970年生，湖南科技大學(xué)英語(yǔ)語(yǔ)言文學(xué)學(xué)士，湖南師范大學(xué)英語(yǔ)語(yǔ)言文學(xué)碩士，中山大學(xué)英語(yǔ)語(yǔ)言文學(xué)博士。深圳職業(yè)技術(shù)學(xué)院副教授。主要從事英語(yǔ)詩(shī)歌與詩(shī)論研究。近年來(lái)，在《當(dāng)代外國(guó)文學(xué)》等核心刊物和《廣州大學(xué)學(xué)報(bào)》等一般刊物上發(fā)表學(xué)術(shù)論文近二十篇。

書籍目錄

IntroductionChapter One Poetry: The Measure of the Poet's Own Phenomenality1.1 The Measure of the Poet's Own Phenomenality: Contexts and Meaning1.1.1 Contexts1.1.2 Meaning1.2 The Measure of the Poet's Own Phenomenaiity as Reflected in Creeley's Poetry1.3 A Contemporary Version of Negative Capability1.3.1 Definition1.3.2 Similarities1.3.3 DifferencesChapter Two Form: An Extension of Content2.1 A Brief Survey of the Relation Between Form and Content2.2 Creeley's Poetics of Form and the Poetics of Projective Verse2.2.1 Creeley's Poetics of Form2.2.2 Creeley's Poetics of Form as Related to the Poetics of Projective Verse2.3 A Demonstration of Creeley's Poetics of Form-- “Le Fou”2.4 Postmodemity of Creeley's Poetics of Form2.5 Inconsistency between Creeley's Theory and PracticeChapter Three Words:Self-Contained Things3.1 Indications of Words' Thingness in Creeley's Poetry3.1.1 Problematized Language-reality Nexus3.1.2 Words Doing Things3.1.3 Weakened Subjectivity3.1.4 Highlighted Physical Features of Language3.2 Approach to Words' Thingness: Literality Instead of Objectivity3.3 Suspicious Elements in Cree|ey's Poetics of Language3.4 A Genealogy of Creeley's Poetics of Language3.4.1 Sources3.4.2 InfluenceChapter Four Emotion: A Primary Measure for Poetry4.1 Emotion and Poetry4.2 Emotion and Creeley's Poetry4.3 Emotion as Related to the Other Three Measures4.4 Creeley's Mode of Turning Out Emotion as Distinguished from Wordsworth's and Lowell's4.4.1 Creeley and Wordsworth: Betraying vs Expressing4.4.2 Creeley and Lowell: Exact vs GeneralConclusionWorks CitedAppendix: Biographical Chronology of Robert Creeley

章節(jié)摘錄

　　To sum up，the measure of the poet's own phenomenalitv comesin to being in the process of the poet's writing .It has little to d0 with any fixed rule. In Creeley's poems it is reflected by an emphasis on the chance flux of time，priority of the moment over form，disappearance of the identical subject as well as fragmentation of the world. Comparing Keats'negative capability and Creeley's measure of the poet's own phenomenality，we find out that the two bear both close similarities and distinct differences.　In fact，the measure of the poet，s own phenomenality can be seen as a contemporary version of negative capability.　　Although the measure of the poet's own phenomenalitv is no specific rule，it does imply an overall standard as to what and how the poet should write. It is an attempt to liberate poetic composition from the bondage of traditional metrics so that endless possibilities may emerge in the process of writing .As the poet breaks away from any prescribed pattern and concerns himself only with what appears to his consciousness at each moment，the measure he follows is nothing other than the measure of his own phenomenality. The form the poem is assuming then cannot be anticipated，as Creeley says of Williams：“What device，means，rhythm，or form the poem can gain for its coherence are a precise issue of its occasion.”（Essays 45）Creeley's other remarks concerning form are：　“Form is never more than an extension of content；”（qtd. .in Olson，“Projective”40）and“Form is what happens.”（qtd. in Allen，78）This can be seen as a sense of measure Creeley has developed concerning the form of poetry. The next chapter will deal with it in detail.　　……

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