Space and Pattern in Linear and Postlinear Poetry Empirical and theoretical approaches
Space and Pattern in Linear and Postlinear Poetry Empirical and theoretical approaches
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线性和后线性诗歌中的空间和模式实证和理论方法
DOI：
10.1080/13825577.2012.754967
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发表时间：
2013
影响因子：
0.5
通讯作者：
Roberts A
中科院分区：
文献类型：
--
作者：
Roberts A
本文源自英国艺术与人文研究委员会资助的两个跨学科研究项目，涉及将心理学实验技术应用于诗歌形式和读者反应的研究。探讨当代英美诗歌创新形式中空间和格局的语义和表现效果。在参考了这些问题的一些历史和理论背景后，本文分析了使用眼球追踪、文本操作、记忆测试以及读者记录的反应和解释的实验结果。研究的第一组诗歌是行行的，行内有扩展的空间，并且行从左边距开始移位。作者参考了杰弗里·希尔（Geoffrey Hill）的《迦南》（1996）中的一首诗，表明这种空间的使用可能有助于阐明句法结构，但也可能通过鼓励跨线性语义连接来促进更丰富的解释。研究的第二种技术是从线性诗歌到后线性诗歌的突破，因为最初的线性序列转移到分散的文本页面。在阅读苏珊·豪（Susan Howe）的《毕达哥拉斯式沉默》（来自《信任的欧洲》，1990）时，作者发现了空间、形状和图案的更激进的影响，以及对解释策略和审美反应的相关影响。最后，本文讨论了读者反应的实证研究与杰罗姆·麦克甘对毕达哥拉斯沉默的解释所例证的历史理论方法之间相互支持和启发式挑战的潜力。
This article derives from two interdisciplinary research projects funded by the UK Arts and Humanities Research Council, involving the application of psychological experimental techniques to the study of poetic form and reader response. It discusses the semantic and expressive effects of space and pattern in innovative forms of contemporary British and American poetry. After referring to some historical and theoretical contexts for these issues, the article analyses the results of experiments using eye-tracking, manipulations of text, memory tests and readers' recorded responses and interpretations. The first group of poems studied were lineated, with extended spaces within lines and displacement of lines from the left margin. Referring to a poem from Geoffrey Hill'sCanaan(1996), the authors show that such use of space may serve to articulate syntactical structures, but may also promote richer interpretation by encouraging cross-linear semantic connections. The second technique studied was the break from linear into postlinear poetry, as an initially lineated sequence shifts to pages of dispersed text. In readings of Susan Howe'sPythagorean Silence(fromThe Europe of Trusts,1990), the authors detected more radical effects of space, shape and pattern, with associated consequences for interpretative strategies and aesthetic responses. Finally, the article discusses the potential for both mutual support and heuristic challenge between an empirical study of reader response, and a historical-theoretical approach as exemplified by Jerome McGann's interpretation ofPythagorean Silence.