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在内蒙古汉语诗歌写作群体中,诗人张蜀恒绝对是个异类。张蜀恒对“诗歌+评书”的立体诗歌范式进行了先锋实验,主张“诗歌评书”的表演技巧主要有嗓子活、面子活、身子活等。本文就张蜀恒“诗歌评书”所表现出的声音诗学,从三个方面进行阐述:一是诗人不自觉的回到诗歌最初的形式尝试,以及与《诗经》的诗学关联;二是以方言入诗的“以暴制暴”问题;三是诗人介入生活的努力,即加大诗歌表现的民生容量。从中我们都能感受到了张氏声音诗学的独特魅力。
In Inner Mongolia, Chinese poetry writing group, the poet Zhang Shuheng is definitely a heterogeneous. Zhang Shuheng conducted a pioneer experiment on the three-dimensional poetry paradigm of “Poetry + Commentary”, claiming that the performance skills of “Poetry Commentary” mainly include living in the throat, living in the face and living in the body. This article expounds the sound poetics shown by Zhang Shuheng “poetry storytelling ” from three aspects: First, the poet unconsciously returns to the initial form of poetry and the poetic connection with the Book of Songs; secondly, To dialect into the poem “to violent storm” problem; Third, the poet involved in the efforts of life, that is, increase the capacity of people’s livelihood poetry. From which we can feel the unique charm of Zhang’s poetic sound.