摘要
诗歌声音与意义有密切的关系,然而长久以来,诗歌声音一直被学术研究所忽视。总体上,诗歌声音可分为"文本声音"和"表演声音"两个层面;其中,文本声音包括"外部的声音","内部的声音"和"语言的调性"三种声音。美国语言诗人查尔斯·伯恩斯坦把自己的诗歌定位为有声写作,他的回音诗学基于声音,在很大程度上展现了一种声音美学。通过对伯恩斯坦的诗歌文本层面上的分析,可见他的诗歌的主要声音模式为"声音碎片"、"声音空白"和"声音重复",而"谐音翻译"是翻译的声音,也是声音重复的代表。总体而言,伯恩斯坦的诗歌声音有时与语义相应和,强化意义;有时与语义相悖,重构意义,形成了意义的多元和悖论。伯恩斯坦诗歌中的声音美学显示了后现代的崇高,体现了伯恩斯坦所提倡的"荒诞玄学探究"和中西思想的融合,扩容了传统诗学。
In poetry, sound is closely related to meaning, but the sound of poetry has been overlooked, all along, in academic studies. Generally speaking, the sound of poetry can be divided into "text sound" and "performance sound." Text sound includes three types of sounds: "external sound," "internal sound," and "pitch of poetic language." Charles Bernstein, an American Language Poet, defines his poetry as sound writing. His echopoetics, which is sound-based, largely sets forth a kind of acoustic aesthetics. Through an analysis of the text sounds in Bernstein’s poems, one may find out that the main sound modes of his poetry are "sound fragmentation," "sound blanks," and "sound repetition," whereas his "homophonic translation" is literally the sound of translation, which in turn functions as an embodiment of sound repetition. Overall, the sound in Bernstein’s poetry sometimes corresponds to the semantics, reinforcing its implications, but sometimes it contradicts the semantics, reconstructing its implications with pluralities and paradoxes. The acoustic aesthetics in Bernstein’s poetry demonstrates the sublime of Postmodernism, embodies the "pataquerical inquiry" and the fusion of Chinese and Western thoughts that he advocated, and enriches the traditional poetics.
作者
冯溢
Feng Yi(College of Foreign Studies,Northeastern University,Shenyang 110819,China)
出处
《外国文学研究》
CSSCI
北大核心
2021年第3期52-63,共12页
Foreign Literature Studies
