《穆旦诗歌:中国近代史》

H. Zhang
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引用次数: 1

摘要

远征军士兵丛林战争的幸存者。一个用在美国的机会换取回到新成立的中华人民共和国的乏味旅程的爱国者。“反革命分子”。他是一名苦力,一生的最后三分之一都在翻译英俄文学。——诗人。仔细研究穆旦(1918-1977)的诗歌,我们可以探索现代中国转型的一系列时刻。穆旦的22首诗被选为一部从新文化运动高潮(1919年)到无产阶级文化大革命结束(1976年)的中国历史。他们融合了大胆的语言、敏锐的哲学和历史眼光,编织了一系列主题,照亮了一个国家和一个人的痛苦之路。此外,他们跨越了从普通人到非凡知识分子的情感范围。为了揭示中国近代史的转折点,这二十二首诗沿着两条轴线进行了语境化。一条纵轴是主题线,由穆丹从1940年到1976年发展和重新审视的11个主题组成;它们是:青春、战争、幻灭、成熟、牺牲、暴露、启蒙、转变、觉醒、痛苦和反思。横轴是情感的光谱,展示了穆旦对现代中国转型的矛盾态度,将他与他的同胞联系起来,或将他与他们作为一个自由精神和文化批评家拉开距离。这个概念框架有助于研究历史与文学之间的相互作用。它展示了现代中国的历史是如何影响、激发和塑造了一个与之相伴的诗人,同时也展示了诗歌是如何被当作历史来读的。这种阅读让我们有更多的机会去了解塑造诗人和他的诗歌的历史事件。把诗歌当作历史来读,可以发现失落的情感、斗争、观察和批评,从而增进我们对现代中国的理解。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Mu Dan’s Poetry as a History of Modern China
An expeditionary force soldier. A jungle war survivor. A patriot who traded opportunities in the United States for a tedious journey home to the newly founded People’s Republic of China. A “counterrevolutionary.” A forced laborer who spent the last third of his life translating English and Russian literature.—A poet. Careful study of Mu Dan’s (1918–1977) poetry enables us to explore a string of moments in modern China’s transformation. Twenty-two poems by Mu Dan have been selected as a history of China from the climax of the New Culture Movement (1919) through the end of the Great Proletarian Cultural Revolution (1976). Fusing linguistic audacity, philosophical acumen, and historical vision, they weave a thread of themes illuminating the tortured path of a nation and an individual. Further, they span a spectrum of sentiments ranging from those of ordinary people to those of extraordinary intellectuals. To reveal the turning points in modern China’s history, the twenty-two poems have been contextualized along two axes. A vertical axis, the thread of themes, consists of eleven motifs developed and revisited by Mu Dan from 1940 through 1976; they are: Youth, War, Disillusion, Maturity, Sacrifice, Exposure, Enlightenment, Conversion, Awakening, Anguish, and Reflection. A horizontal axis, the spectrum of sentiments, exhibits Mu Dan’s contradictory attitudes toward modern China’s transformation by identifying him with his countrymen or distancing him from them as a free spirit and cultural critic. This conceptual framework assists in examining the interaction between history and literature. It demonstrates how modern China’s history informs, provokes, and shapes a poet whose life span coincides with it and, at the same time, how poetry can be and is being read as history itself. This reading allows more than new access to the historical events that mold a poet and his poetry. Reading poetry as history uncovers lost sentiments, struggles, observations, and critiques that advance our understanding of modern China.
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