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原文(狗主人已确认)
The first installment of Testimony was published in 1934 by the Objectivist Press, which had been started several years earlier to promote the views of poets including William Carlos Williams, Louis Zukofsky, George Oppen, and Reznikoff himself. They were believers in Objectivism, a short-lived but still influential offshoot of poetic Modernism, the early 20th-century assault by T. S. Eliot, Ezra Pound, and others on the Enlightenment-influenced poetics of their predecessors. For the Objectivists, the poem was an object, not a report by the poet of what he or she thought or felt. They rejected the emphasis by 19th-century Romantic poets like Wordsworth and Shelley on the poet's subjective experience of transcendent meaning as depicted through metaphor and symbol. (The title and opening line of Wordsworth's well-known poem about daffodils, "I wandered lonely as a cloud," is a good example of the tendencies that the Objectivists judged artificial and misleading.) The Objectivists believed that feeling and emotion should come through the choice of details and the sound and appearance of words on the page.
Reznikoff continued to work on Testimony throughout his life. In the 1960s, he published two new volumes (the first drawn from judicial opinions of 1885-1890, the second from opinions of 1891-1900); two additional volumes (1901-1910 and 1911-1915) were published after his death. In each of the later volumes, Reznikoff revised his art, reshaping the documentary material into syncopated lines of poetry.
The Negro was dead/when the doctors examined him," a characteristic poem begins:
They found upon his belly bruises:
he died, the doctors said, of peritonitis.
While the shift in form draws even more attention to the language (as in the isolation of "bruises" in the lines just quoted), the later editions employ the same third-person perspective, looking to the objective language of a judicial opinion, the words as words, rather than subjective experience or metaphor, for the emotional intensity of the poem. With its use of judicial opinions as the raw material of poetry, Testimony radically undercuts the traditional assumption that the poet works in a private sphere that is somehow separate from the pressures and pulls of the public domain. Not only is the poem an object, but it is an object taken from the workaday world that poets traditionally have viewed as unsuitable for poetry. Testimony never lets us forget that it is judicial opinions the poet is expounding.
Reznikoff's most important innovation and chief legacy to subsequent poets was this use of social speech, the public language of lawyers, to further the Modernist project of drawing attention to the linguistic qualities of a poem. By juxtaposing the descriptions of fact—the underlying story—of one case after another, he created an emotionally powerful collage from the apparently impersonal language of judicial opinions, a collage that chronicles America's struggle with slavery and its emergence as a commercial and industrial power.
是呀!!就是这篇!!!牛!!!题里有一道那个人和人的比较就是这个Shelly和Reznikoff(貌似就是写这个的人)的比较!
考古
【by clumsyorange】790分主人的回忆:
问题1:本文作者最可能同意以下什么观点?
答案:我选了通过客观的语言,无需描述emotional reaction也可以从诗歌中体现感情,另外一个选项E中有一个词prose,是散文的意思,当初做题的时候不知道,但是猜测应该是一种无关的文体,所以就没选它。
问题2:关于testimony的论述,下面哪个是正确的?我参考了wiki和阅读文章。
答案:发现testimony第一卷出版与1930年代,最后2卷在他死后才出版,long term project。
问题3:关于Reznikoff和Shelly之间的关系,下面哪个最类似?
答案:原文中有R和他同流派的人reject了Shelly他们流派的理念认为诗歌应该是主观的感性的,在答案中搜索reject,前者reject后者 |
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