Aphasia, Reassembly and Resemblance in the Black British poetry of the 21st Century

这项研究的目的是要确定当代英国黑人诗人是如何运用“失语症”诗学的。失语症在医学上被理解为“由于大脑损伤而导致的获得性语言丧失”(Benson and Ardia 1996，6)，失语症也被比喻为全球土著语言的衰落(Devy 2016，1)，以及阅读非殖民地诗歌技巧(Guttman 1996，57)。通过这些隐喻用法，我将发展失语症的概念，作为一个镜头，通过它可以阅读英国黑人诗人的诗学。失语症的概念有机地适合于对种族、帝国、侨民、翻译和文学的批判性讨论，在这些讨论中，语言丢失、沉默和删除的经历被视为历史殖民创伤的回响。除了作为一种隐喻，它也是诗人们在他们的作品中使用的一种诗意手段，目的是为了解决这些遗产。通过对重组的关注，可以批判性地观察英国黑人诗人为恢复声音的主观性而采取的补救行动。虽然失语症的话语意味着交际上的损失--以及这种损失是如何在实践中表现出来的--但这项研究也试图勾勒出失语症之后重建的实践是什么样子。最后，为了有助于理解1948年后仍在形成的英国黑人正典，我提供了一个术语“相似”作为批评的典范，而不是建立在“诗意相同”的基础上(Parmar 2015)。英国黑人社区由非洲和加勒比民族组成，他们的历史有时会汇聚在一起，而其他地方则不会。在这一点上，我想绘制出交叉点的地图，在那里我们‘知道自己是一部分，也是群体’(Glissant 1994，9)。在寻找相似之处的过程中，我打算定义我们在哪些方面像克劳迪娅·兰金所写的那样，‘像家人一样旅行’(兰金2014)。

The purpose of this research is to establish how contemporary Black British poets utilise a poetics of 'aphasia'. Medically understood as the 'acquired loss of language due to cerebral damage' (Benson and Ardila 1996, 6), aphasia has also been used metaphorically as a lens for the decline of indigenous languages worldwide (Devy 2016, 1), and the reading of decolonial poetic techniques (Guttman 1996, 57). Through these metaphorical usages, I will develop the concept of aphasia as a lens through which the poetics of Black British poets can be read.The concept of aphasia lends itself organically to critical discussions of race, empire, diaspora, translation and literature wherein experiences of language loss, wordlessness and erasure are seen as reverberations of historic colonial trauma. In addition to functioning as a metaphor, it is also visible as a poetic device employed by poets who intend for their work to address such legacies.A focus upon 'reassembly' approaches a critical observation of what reparative acts Black British poets make to reclaim subjectivity of voice. Whereas a discourse of aphasia signifies communicative loss - and how such loss is rendered in praxis - this research also seeks to outline what the praxis of rebuilding looks like in the wake of aphasia.Lastly, to contribute to understandings of a still-forming Black British canon post-1948, I offer the term 'resemblance' as a model for critique that is not predicated upon 'poetic sameness' (Parmar 2015). The Black British community comprises African and Caribbean peoples with histories that sometimes converge and elsewhere do not. In this light, I want to map the intersections at which we 'know ourselves as part and as crowd' (Glissant 1994, 9). In seeking resemblances, I intend to define in what ways we are, as Claudia Rankine writes, 'travelling as family' (Rankine 2014).