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二十多年来中国诗歌的反叛与求索,既是一个不断演 示生机和可能性过程,也是不断暴露历史创作和后 遗症的过程。近年诗坛沸沸扬扬的“知识分子写作”与“民间写作”之争,虽与80年代的“朦胧诗”论争不可同日而语,是由于诗学“立场”不同,是“自家兄弟”的意见分歧(80年代的“朦胧诗”论争基本上是制约文学的权力与文学反抗这种权力的论争,是权力化的意识形态与“文本意识形态”之间的较量。而“知识分子写作”与“民间写作”之间的论争,则基本上可视为诗歌内部不同观念、不同风格的论争)。然而,排除其“话语权力”和市场份额的争夺等非诗的因素不谈(在一个“消费”诗歌的时代,被挤到边缘的边缘的诗歌正陷于“无人之阵”中,真正的“寂寞新文苑,平安旧战场”,谁理会你“旷野里的相煎”),值得重视的恐怕还是诗歌自身存在的问题。
The rebellion and quest for Chinese poetry in more than two decades are both a process of continuously demonstrating vitality and possibility, as well as a process of continuously exposing historical creations and sequelae. Although the controversy over the “Obscure Poems” in the 1980s, the controversy between the “intellectual writing” and “folk writing” in recent years in the poetry circles is due to the fact that the poetics “standpoint” is different from the dissent of “own brothers” The controversy over obscure poems in the 1980s is basically a controversy over the power restricting literary power and literary revolt, as well as the contest between the power-based ideology and the “textual ideology.” The “intellectual writing” and “folk Writing ”debate, basically can be regarded as poetry within different concepts, different styles of argument). However, the exclusion of non-poetic factors such as competition for market power and discourse power (in an era of “consumer” poetry, the poem squeezed to the brink of the periphery is trapped in a “no-man array,” and real “Loneliness new court, safe old battlefield”, who cares about you “in the wilderness phase fry”), it is worth paying attention to is the problem of poetry itself.