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在“归来”后的1980年代,昌耀总是能够以其勇武之气战胜宿命的伤感,在诗中呈现出了带有悲壮色彩的力之美。但到了1990年代,经历了种种悖论式生存体验的昌耀,终于在真实的风雨中感到了疲惫,“张皇感”成了他作品的主旋律。然而,昌耀以其出众的艺术才华,将其“人生败北”的伤痛转化为了动久心魄的“失败美学”。具体表现在:一、他写出了一个“失败者”面对已成的败局束手无力的感觉;二、他成功塑造了人生“失败者”的群像;三、他生动地刻画了当代“失败者”的典型生存环境。
In the 1980s, after “returning”, Changyao could always overcome his destiny with his courage and show the power of tragic beauty in the poem. But by the 1990s, Changyao, experiencing all kinds of paradoxical experiencing experiences, finally felt tired in the real wind and rain. His sense of “Zhang Huang” became the main theme of his works. However, Chang Yao, with his outstanding artistic talent, has transformed his “loss of life” into a “failure aesthetics” for a long time. The concrete manifestation is as follows: First, he wrote a feeling of “failure” in the face of the defeat that has already been done. Second, he succeeded in shaping the group of life “losers”. Third, he portrayed vividly The contemporary “losers” of the typical living environment.