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1.4.2. ❤流派诗人
【by yaoyao880529】
(看到心好凉,完全没时间。。)说一个作家写一个什么东西,里面超级多人名。说了这个人这个文章怎么着的,好像还有一批人一起是objevtism,支持 这个objective的什么东西的,然后又讲到另一批romantic poem的,里面有个人叫M(有题,问这个人和那个作家的关系就像是以下哪种?)我选了program 里的一个人反对另一个和他们观点相反的团队,(没时间了没仔细看),然后后一段说这个人花了好长时间,最后一段没看。 有题问他的文章可以infer出什么,我选了时间很长。还有说主题,不记得选项了。
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! |
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