自白、神话与女性叙述——论露易丝·格吕克的诗歌创作
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摘要
露易丝·格吕克善于把女性的种种感受呈现在诗中。她不是零碎、松散地书写表达自己,而是在写作中探索并形成自己"组诗体"的写作样式,其诗作呈现出整体性与结构性的面貌。虽然格吕克从自白派诗歌起步,但是不同于自白派诗歌的写作方式。她将神话传说、文学等经典文化典故融入带有自传色彩的诗行,"重写"或"颠覆性"、创造性地"改写"和化用了经典与典故,将之拿来为自己所用,为她所借用的对象赋予了新意。格吕克的诗歌创作有突出的女性视角,一方面细腻地展现了女性的内心世界及其命运,另一方面也因为其内在的丰富与复杂,更加经得起时间的考验,具有普遍意义。
Louise Glück is good at presenting the feelings of women in her poems.But the poems by Louise Glück are different from the confessional poetry.She writes a lot of things in her poems that with autobiographical colors,for example,myths and legends,literary classics and so on.In the way of narration,Louise Glück has subverted the original allusion subjectivity,and gave the new meaning to her poems be re-writing that full of creating.In particular,she highlights the women's perspectives.On one hand,it makes its poetry more universal.On the other hand,it shows the inner world of women and their fate more subtly.
Louise Glück is good at presenting the feelings of women in her poems.But the poems by Louise Glück are different from the confessional poetry.She writes a lot of things in her poems that with autobiographical colors,for example,myths and legends,literary classics and so on.In the way of narration,Louise Glück has subverted the original allusion subjectivity,and gave the new meaning to her poems be re-writing that full of creating.In particular,she highlights the women's perspectives.On one hand,it makes its poetry more universal.On the other hand,it shows the inner world of women and their fate more subtly.
引文
[1]蓝蓝.黄昏长庚星的微光:美国桂冠诗人罗伯特·哈斯[N].南方都市报,2012-01-30(C26).
[2][美]罗伯特·哈斯.亚当的苹果园[M],远洋,译.南京:江苏凤凰文艺出版社,2014:译者序1-5.
[3]Vendler Helen.Flower power:Louise Gluck’s the wild iris[J].The New Republic,1993,35:27-35.
[4]Orr Gregory.The postconfessional lyric[M].The Columbia History of American Poetry.ed.Jay Parinietal.Beijing:Foreign Languages Teaching and Research Press,2006:651-673.
[5]殷书林.斯坦利·库涅茨“后自白”诗歌中的叙事模式探析[J].英美文学研究论丛,2008(1):172-184.
[6][美]露易丝·格丽克.直到世界反映了灵魂最深层的需要[M].柳向阳,范静晔,译.上海:上海人民出版社,2016:18-19.
[7]Glück Louise.Meadowlands[M].New York:Ecco Press,1996:7-8.
[8]殷书林.论路易斯·格吕克对古典神话的颠覆性改写[D].上海:上海外国语大学,2008:10-75.
[9][加]艾丽丝·门罗.女孩和女人们的生活[M].马永波,杨于军,译.南京:译林出版社,2013:封底.
[10]耿占春.退藏于密[M].西安:陕西教育出版社,2015:61-62.
[11][美]露易丝·格丽克.月光的合金[M].柳向阳,译.上海:上海人民出版社,2016:1-17.
(1)(2)罗布特·哈斯的评论文字,见http://www.english.illinois.edu/maps/poets/g_l/gluck/about.htm。
(1)伊丽莎白·弗罗斯特的评论文字,见http://www.english.illinois.edu/maps/poets/g_l/gluck/about.htm。
(1)伊丽莎白·弗罗斯特的评论文字,见http://www.english.illinois.edu/maps/poets/g_l/gluck/about.htm。
[2][美]罗伯特·哈斯.亚当的苹果园[M],远洋,译.南京:江苏凤凰文艺出版社,2014:译者序1-5.
[3]Vendler Helen.Flower power:Louise Gluck’s the wild iris[J].The New Republic,1993,35:27-35.
[4]Orr Gregory.The postconfessional lyric[M].The Columbia History of American Poetry.ed.Jay Parinietal.Beijing:Foreign Languages Teaching and Research Press,2006:651-673.
[5]殷书林.斯坦利·库涅茨“后自白”诗歌中的叙事模式探析[J].英美文学研究论丛,2008(1):172-184.
[6][美]露易丝·格丽克.直到世界反映了灵魂最深层的需要[M].柳向阳,范静晔,译.上海:上海人民出版社,2016:18-19.
[7]Glück Louise.Meadowlands[M].New York:Ecco Press,1996:7-8.
[8]殷书林.论路易斯·格吕克对古典神话的颠覆性改写[D].上海:上海外国语大学,2008:10-75.
[9][加]艾丽丝·门罗.女孩和女人们的生活[M].马永波,杨于军,译.南京:译林出版社,2013:封底.
[10]耿占春.退藏于密[M].西安:陕西教育出版社,2015:61-62.
[11][美]露易丝·格丽克.月光的合金[M].柳向阳,译.上海:上海人民出版社,2016:1-17.
(1)(2)罗布特·哈斯的评论文字,见http://www.english.illinois.edu/maps/poets/g_l/gluck/about.htm。
(1)伊丽莎白·弗罗斯特的评论文字,见http://www.english.illinois.edu/maps/poets/g_l/gluck/about.htm。
(1)伊丽莎白·弗罗斯特的评论文字,见http://www.english.illinois.edu/maps/poets/g_l/gluck/about.htm。