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每当诗歌创作出现困惑时,诗歌理论问题分外活跃。眼下似乎正是这种情形。 80年代中期的现代主义浪潮卷过之后,所谓“后朦胧”诗歌并没有收获什么。尽管有厚厚两大本《后朦胧诗全集》力图作个证明,但华丽的硬包装之下,诗本身的质量和力量却颇值得怀疑。 普天之下数以千计的诗人们到底该拿什么向千年之交的世纪末献祭?汉语诗歌是不是真像批评家嚷嚷的那样,已经有了气候,已经有不少“大师”正在崛起?如果说我们的写作真的已经出了问题,那么诗歌理论应该关注什么?语言?后现代性?降低标准?反神话?
Whenever poetry confusion occurs, the theory of poetry is exceptionally active. Right now it seems this is the case. After the tide of modernism in the mid-1980s was over, the so-called “post-obscure” poetry did not reap anything. Despite the thickness of the two “After the Complete Collection of Obscure Poems” trying to make a proof, but the gorgeous hard packaging, the quality and strength of the poem itself is rather questionable. Is it true that thousands of poets in the world have sacrificed to the end of the millennium? Is Chinese poetry a climate like the critics do? There have been many “masters” rising up? If we really have a problem writing, then what should poetry theory focus on? Language? Postmodernity? Reduce the standard? Anti-myth?