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本文考察了第二次世界大战期间美国对日本投下原子弹之后的美学话语与公共政策之间的纷乱关系。如果说H.D.在德国轰炸下的伦敦创作的《三部曲》一直被作为战争诗而饱受批评,那么她在随后写出的几部主要作品,尤其是《海伦在埃及》和《向弗洛伊德致礼》,则提供了艺术家在战争期间以及战后更激进也更微妙的想象图景。这两部作品诞生于现代主义向后现代主义过渡的历史时期,对文学正典形成了挑衅和干扰,并直接指向20世纪中期美国对外政策和文学身份的复杂动因。《海伦在埃及》表面上是对一部早已遗失的前荷马时代的文本的重写,实质上却因其主观性被移置、空白、对西方文学正典所进行的隐晦的重新思考等特征,预示了一个朝向明确的后现代抒情诗歌的转变。作品中探究性的语气以及贯彻始终的观点,即现代战争不是文学生活与社会政治生活的破裂而是延续,无不表明作者对于抒情诗的观点与这种后现代转向之间有着密切关联。
This article examines the chaotic relations between the aesthetic discourse of the United States after Japan dropped its atomic bomb and public policy during the Second World War. If HD’s “trilogy” in London under the German bombing has been criticized as a war poem, several major works she later wrote, especially the “Helen in Egypt” and the “ Idian Gifts ”provides a more radical and subtle imagination of the artist during and after the war. These two works were born in the historical period of the transition from modernism to postmodernism, provoking and disturbing the canon of literature and directly pointing to the complex motives of American foreign policy and literary identity in the mid-20th century. On the surface, “Helen in Egypt” is a rewriting of the text of a long-ago former Homer lost because of its subjectivity of being displaced and empty, and its vague rethinking of the Western literary canon , Foreshadowed a shift toward clear postmodern lyrical poetry. The tone of inquiry and the consistent view that the modern war is not the rupture of literary life and social and political life but continuation shows that the author’s viewpoints on lyric poetry are closely related to this postmodern turn.