论文部分内容阅读
目前,20世纪70年代兴起的美国“语言诗派”越来越受到我国外国文学界的高度关注,其卓尔不群的风格、奇崛突兀的结构、晦涩难懂的行文令研究者们瞪目结舌,他们绞尽脑汁,试图对这一诗歌流派寻找恰当的描述和定义。尽管我国研究者的译介工作已经取得了一些开拓性成果,但他们的定义却似乎把“语言诗”干瘪化,将读者推向一个更加无法解读的泥淖。本论文通过探讨“语言诗派”的历史文化背景,结合对其代表人物和理论家查尔斯·伯恩斯坦最优秀的诗集之一《衰人》的介绍,试图给读者呈现一个较易理解且真实丰满的“语言诗派”形象。
At present, the “language poetic schools” rising up in the 1970s are receiving more and more attention from the foreign literary circles in our country. Their dignified style, strange and unexpected structures, Tongue, they try their best to find an appropriate description and definition of this poetry genre. Although some pioneering achievements have been made in the translation and media work of Chinese researchers, their definition seems to defuse the “poetic language” and push the reader to a more unreadable mystique. By discussing the historical and cultural background of “Language Poets ” and combining with the introduction of “Bad Man”, one of the best poems by Charles Bernstein, the representative figure and theorist, this thesis attempts to present readers with a better understanding And the real plump “language poetic school” image.