About us
Successful Cases
Our Customers
News
Contact us
分享 3
热线:400-0919-097
您的位置: > 永盈会 > NEWS
永盈会

联系人:唐小华 先生

联系电话:86 0512 53128955

联系地址:中国江苏太仓市华东国际塑化城

邮箱:fsdfkd@163.com

Modernism is long dead. Asfor Postmodernism

发布时间:2018-03-15 10:05编辑:admin 浏览次数:

团体化写作与外来文化影响

10月21日上午,2016凤凰·鼓浪屿诗歌节第二天,主题为“团体化写作与外来文化影响”的诗歌国际论坛在鼓浪屿举行。诗人赵野,赵四,李少君,树才,李元胜,默默,韩庆成,永盈会官网,廖伟棠,林于弘、黄冈、加拿年夜诗人洛尔娜·克罗奇(Lorna Crozier),英国诗人李道(Richard Bruns),印度汉学学者、诗人普利亚达西·墨普德教学、韩国翻译家金泰成等人在论坛做出出色又有看法的讲话。论坛由诗人、翻译家、评论家汪剑?和诗人北塔掌管。

鼓浪屿占有“万国建造博览”佳誉,西方文化与东方文化交会于此,闽南文化与外来文化共融于此。“鼓浪屿女婿”林语堂自评“两脚踏东西文化,二心评宇宙文章”。于诗人而言,外来文化将如何影响团体写作?作为“世界人”的诗人,一方面不知疲倦地从本身文化中吸取营养,另一方面又无时不刻不领会着寰球化带来的“文化震动”,从而构成观点的抵触、矛盾、变形、融会、增进,进而可能造成写作的自我改革。

英国诗人李道

以下为李道的发言实录:

1.在英语表白的现代主义诗学里,国家主义者和国际主义者的偏向始终处于缓和的抵触状况中,交错着结合与奋斗:例如惠特曼、庞德、威廉·卡洛斯·威廉斯、叶芝、艾略特、麦克迪米德。但时至当下,从达达活动发端于瑞士的苏黎世迄今整整一百年里,古代主义早已是灭亡。至于后现代主义(无论谁人术语可能已经象征着什么),它曾经胎逝世腹中。那两个术语——或许口号——怎样说都相称笨拙。而今我们站破在一个古诗学时代的拂晓中,不外这个时代我们还没著名称。或者这样更好,因为我们曾经变得厌倦并且猜忌标语。在近多少个时代,艺术家和诗人不发明几多这些货色,它们更多的是由学者型专家、消息从业者和社会学家们发现,而这些人老是迟到,太迟进入这个范畴,无论他们以为他们是如许迅捷。

2.在这后五十年里,我自己的文学实际曾经断定在国际主义上。我已经生涯在希腊、意大利、美国和前南斯拉夫。我的很多着作就受启示于那些国度的文学、文化、历史、地舆、以及地理心思。比来,我的最新作品《易》(CHANGJING,曾译作《转变》和《变迁》)(2016年9月才刚出书)恰是向中国文化、向中国诗学和哲学传统的致敬之作。这部作品植根于典籍《易经》(英文译作《易经》或许《易经,变更之书》)。《易经》架构起而且标准了我的作品,你可以把它当做一本包含450首短诗的诗歌集来读,也可以把它看作是一首包括了450个部分的长诗。《易》既是根据也是源于这部中国现代的巨大作品,只管我是说英语的人、对汉语只晓得那么一点点。这是若何可能?由于,经由被其它言语的浩繁翻译和评注之后,《易经》曾经成为属于全人类的著述,而不只仅是为中国人所领有的收藏。假如言语正统论者主意,“你如若不说汉语,你甚至都不能读,更不要说懂得《易经》”,我的纯朴答复就会是:“我能读能理解圣经,即使是我不懂古希伯来语、阿拉米语或许希腊语。国王詹姆斯的《钦定本[圣经]》(1611)自身就是经典。”不言而喻,不克不及低估在诗歌世界里翻译的至关主要。

3.明天,主要得益于信息技巧,世界上一切的文化、文学和诗学传统,作为我们合法而有意义的遗产之一部分,对我们一切人而言都是开放的、可以获取并且可以应用的。所以当今写作的一位中国诗人可能会遭到比方《吉尔伽美什史诗》、约翰·济慈、亚瑟·兰波、玛丽娜·茨维塔耶娃、保罗·策兰、托马斯·特朗斯特罗姆或许加里·施耐德的影响——而仍然坚持并信守他或她完整的中国身份——就像我,一个英国诗人一样,可能遭到《易经》、《品德经》、荷马、李白、杜甫、奥克塔维奥·帕斯、乔治·塞菲里斯、伊曼努尔·列维纳斯和伊万·拉里奇的影响。因此,我们这个今世的局势不只是奥妙而风趣的庞杂,也是布满活气、令人高兴而又弥漫潜能的。

4.从这个意思上说,我们一切人都既是外乡的又是域外的。活着界上绝大少数重要城市里都可以找到说汉语的人。说希腊语、阿尔巴尼亚语、斯瓦西里语、孟加拉语以及数百种其余言语的人群,无论巨细也都是如此。现在在伦敦的黉舍里,人们说着超越三百种的言语。因而每一种文化至多潜在地都有它的团圆,每一种言语都是国际性的。如果然是那样,那么(它的)诗歌也是如斯。如许,诗歌中什么是外乡的、什么是外来的(异质、他者、本国、奇怪、等等)这个成绩确实需要从新诠释。一棵苹果树在四川的果园与在诺曼底或许伊利诺伊或许布宜诺斯艾利斯一样能够长得好,它的果实也一样独具特性、一样甜蜜。世界的汗青充斥文化的再传布和言语的迁徙,就像是动物的移植。

5.基于一切这些来由,对一个要对言语和文学影响开放而不是囿于他或她本人先人传统的诗人来说,素来不须要暗示特性和文明身份的丧失,相反,那是一种丰盛跟深入。一切的文学都是一个文学之一部分。一切的诗歌都是一个诗歌之一局部。一切的人类文化都属于独特和分歧。咱们全都是一直加深和拓宽的飞跃洪流之一部门,这个奔跑洪流英国浪漫主义诗人威廉·华兹华斯称之为“人类音乐”。

6.所以,无论会是什么标签,当今诗歌的时代以及行将到来诗歌的时期不成宰割也无可防止地会是跨文化、多文化和国际的。我把这称为幻想国际主义的。

Imaginationalism

Anextract from a longer statement

Richard Berengarten

(Li Dao)

1.             In Anglophone poeticModernism, nationalist and internationalist tendencies were in constanttension, alternately combining and struggling: Whitman, Pound, William CarlosWilliams, Yeats, Eliot, MacDiarmid. But by now, exactly one hundred years sincethe Dada movement started in Zürich, Switzerland, Modernism is long dead. Asfor Postmodernism (whatever that term may have meant), it was stillborn. Bothof those terms – or slogans – were pretty silly anyway. Now we stand at thedawn of a new poetic age, for which as yet we have no name. Perhaps it isbetter that way, because we have grown tired and suspicious of slogans, whichin recent times have been invented not so much by artists and poets as byscholarly experts, journalists and sociologists, who come always late, toolate, into the field, however quick they may think they are.

2.             For the last fiftyyears, my own literary practice has been decidedly international. I have livedin Greece, Italy, the USA and former Yugoslavia. Many of my books have beeninspired by the literatures, cultures, histories, geographies, andpsycho-geographies of those countries. Most recently, my latest book, Changing (just published in September2016) is a homage to the Chinese cultural, poetic and philosophical tradition.This book is grounded in the classic, the Yijingor I Ching, the Book of Changes. The Yijingstructures and frames my book, which may be read either as a collection of 450short poems, or as a single long poem consisting of 450 parts. Changing both depends on and derivesfrom this ancient Chinese masterpiece, even though I am an English speaker andknow only a little of the Chinese language. How is this possible? It isbecause, through its many translations and commentaries on it in otherlanguages, the Yijing has become notonly a treasured Chinese possession,but a book that belongs to all humanity.And if a linguistic purist were to argue, “If you don’t speak Chinese, youcan’t even read, let alone understand the Yijing,”my simple reply would be: “I can read and understand the Bible, even though Idon’t know ancient Hebrew, Aramaic or Greek. The King James Authorised Version of the Bible (1611)is a masterpiece in itself.” Clearly, the crucial importance of translation inthe world of poetry cannot be underestimated.

3.             Today, mainly thanks toinformation technology, all the cultural, literary and poetic traditions in theworld are open, accessible and available to all of us, as part of our rightfuland meaningful heritage. So a Chinese poet writing today can be influenced by,say, the Epic of Gilgamesh, JohnKeats, Arthur Rimbaud, Marina Tsvetayeva, Paul Celan, Tomas Tranströmer or GarySnyder – and still maintain and honour his or her full Chinese identity – justas I, an English poet, can be influenced by the Yijing, the Dao de Jing,Homer, Li Bai, Du Fu, Octavio Paz, George Seferis, Emmanuel Levinas and IvanLali?. This contemporary situation of ours, then, is not only subtly andinterestingly complex, but also vital,永盈会官网, exciting, and brimming with potential.

4.             In this sense we areall both territorial and extra-territorial. Chinese-speakers are to be found inmost major cities in the world. And so are speakers of Greek, Albanian,Swahili, Bengali, and hundreds of other languages, large and small. In theschools of London today, over three hundred languages are spoken. So everyculture, at least potentially, has its diaspora, and every language isinternational. And if that is the case, then so is (its) poetry. The issue, then,of what is native and what is foreignin poetry (alien, other, exotic, strange, etc.)surely needs to be rephrased. An apple tree can grow just as well in an orchardin Sichuan as in Normandy or Illinois or Buenos Aires, and the taste of itsfruit be just as individual and sweet. The history of the world is as full ofcultural reseedings and linguistic transferences as it is of successfulbotanical transplantations.

5.             For all these reasons,for a poet to be open to linguistic and literary influences other than thosewithin his or her own ancestral heritage never needs to imply loss of personalor cultural identity, but rather an enrichment and a deepening. All literaturesare part of one literature. All poetries are part of one poetry. All humancultures belong together and cohere. We are all part of the increasingly deepand wide running current that the English Romantic poet William Wordsworthcalled the “music of humanity”.

6.             So, whatever its labelmay be, the age both of present-day poetry and of poetry-to-come is irreduciblyand inevitably transcultural, multilingual and international.  I call this imaginational.

Copyright 2017 永盈会官网 All Rights Reserved