Crisis and Contemporary Poetry
Crisis and Contemporary Poetry
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危机与当代诗歌
DOI：
10.1057/9780230306097_15
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发表时间：
2011
期刊：
影响因子：
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通讯作者：
Osborne D
中科院分区：
文献类型：
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作者：
Osborne D
英国两位主要的本土黑人诗人和表演者苏安迪和莱曼·西赛的作品加强了诗歌艺术作为对抗和平衡的强大的自我塑造能力-既与基于种族和性别类别的某些群体贬低和压迫特定群体的现行社会规范相抗衡，也与表明英国文学指南针及其艺术价值标志中的包容或排斥的主流美学传统相抗衡。本章探讨了Suandi和Sissay的创作美学中的“诗歌作为其自身的辩护力量”的观点(Heaney，1988，第92页)，同时注意到语境的含义--显性的或暗示的--及其对意义的影响。随着黑人艺术家在白人主导的创作环境中发展，他们诗意的声音交织着出生在英国(继承英国文学和表演遗产)的双重遗产，但又经常认同非洲散居国外的传统，认为这是对他们在国家、种族和家庭关系中的社会政治边缘化的抵抗。他们的作品横跨书面和口头流派(诗歌、单剧)，对现有的批评方法提出了挑战。这两位作家都明确地将自己定位在英国黑人写作的范围内，这一类别在20世纪末形成，在新的千年里受到越来越多的关注。它被理解为包括英国土著黑人的写作，他们的作品从情感和立场出发，与英国前几代自称为黑人作家的移民或移民叙事截然不同。苏安迪和西赛坚持自己的原住民和创造性的身份，是这一代人的典范，杰卡曼声称，他们的作品颠覆了诗歌中一种简约的核心概念--英文，因为它的目的正是为了打破英语作为一种垄断的关注。
The work of two of Britain’s leading indigenous black poets and performers, SuAndi and Lemn Sissay reinforces the powerful, self-fashioning capabilities of the art of poetry as counterstance and counterbalance–both to prevailing social norms that devalue and oppress certain groups of people based upon race and sex-gender categories, and to prevailing aesthetic traditions which denote inclusion or exclusion within the British literary compass and its markers of artistic merit. This chapter explores the idea of ‘poetry as its own vindicating force’(Heaney, 1988, p. 92) in SuAndi’s and Sissay’s creative aesthetics, while remaining mindful of the implications of contexts–explicit or implied–and their effect upon meaning. As black artists evolving in white-dominated creative contexts, their poetic voices interweave the dual legacies of being born in Britain (inheriting British literary and performance heritages) and yet also frequently identifying with African diasporic traditions as a resistance to their socio-political marginalization in national, racial and familial relations. Their work spans written and spoken-word genres (poetry, monodrama) and presents a challenge to existing critical methodologies. Both writers position themselves unequivocally within the scope of Black British writing, a category which crystallized at the end of the twentieth century and towards which critical attention has been increasingly turned in the new millennium. It is understood as encompassing the writing of indigenous black Britons whose work speaks from a sensibility and standpoint quite distinct from the arriviste or migration narratives of previous generations in the UK, who termed themselves black writers. In asserting their indigenous and creatively represented identities, SuAndi and Sissay exemplify a generation whose work, Jackaman claims, subverts ‘a reductive hard core notion of “Englishness” in poetry’as it is ‘directed precisely towards the breaking of English as a monopoly concern’, to
潮湿的背叛
DOI：
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发表时间：
2005
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影响因子：
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作者：
Moynagh Sullivan
通讯作者：
Moynagh Sullivan
语言学和诗学
DOI：
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发表时间：
1960
期刊：
影响因子：
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作者：
R. Jakobson
通讯作者：
R. Jakobson