| 胡王骏雄.“朦胧诗人”的“后朦胧”诗语 ——论杨炼海外诗歌的语言风格[J].,2018,(4):102-106 |
| “朦胧诗人”的“后朦胧”诗语 ——论杨炼海外诗歌的语言风格 |
| The “Obscene”Poetic Language of “Hazy Poet”:——On the language style of Yang Lian's overseas poetry |
| 投稿时间：2017-09-24 |
| DOI： |
| 中文关键词: 杨炼 海外诗歌语言 隐晦性 张力 隐喻 |
| English Keywords:Yang Lian overseas poetry language obscure tension metaphor |
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| 中文摘要: |
| 20世纪80年代中后期,中国当代诗歌迎来语言的审美转向,“拒绝隐喻”的诗歌语言风暴甚嚣尘上。作为“朦胧诗人”之一的杨炼,在其出国后仍旧醉心创作,并一以贯之地坚持将笔触最大程度地深入人类处境的诗歌艺术追求。杨炼的海外诗歌充分呈现了语言的内在张力所创建的韵致深远的诗意空间,诗人精于运用隐喻并融入个体经验的生命体验,创造了不同于国内诗坛倾向平面化叙事性风格诗歌语言的“后朦胧”诗语,取得了独有的艺术成就。 |
| English Summary: |
| In the late 80s of last century, Chinese contemporary poetry ushered in the aesthetic shift of language and had been blowing the “decline metaphor” poetry language storm. Yang Lian is one of the “hazy poets”, after left abroad, he is still obsessed with the creation, and consistent with the brush to the greatest extent possible into the human situation of the pursuit of poetry art. Yang's overseas poems fully present the poetic space created by the intrinsic tension of the language. He is good at using metaphor and integrating into the experience of individual experience to creating a poetic language that is different from the domestic poetry tendency. He has made a unique artistic achievement. |
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