第一次世界大战诗歌透视

H. Yeung
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引用次数: 1

摘要

《第一次世界大战诗歌透视》是对第一次世界大战诗歌研究的及时贡献,是布卢姆茨伯里文化圈多体裁“大战”合集的一部分,其目的是在第一次世界大战爆发一百周年之际,为那些寻求理解第一次世界大战及其影响的人提供“一站式资源”(见:www.bloomsbury.com/thegreatwar).As这本书的序言规定,其目的主要是教学和平衡:把第一次世界大战的诗歌研究的前景,许多相关的文学理论,同时也消除了文学理论是困难的或令人生畏的概念。许多所谓的通过文学理论来研究文学的“简单”介绍,通过他们试图简化或易于理解,混淆而不是澄清,但埃文斯的研究,也许是因为他选择了一个特定的文学焦点来进行理论阐述,不是其中之一。不幸的是,我们显然仍有必要破除理论是过于复杂的学术批评家专属的神话。然而,在普通的高中甚至本科课堂上,对“理论”的恐惧,这本书试图解决的问题,仍然是非常明显的,表现为对任何遥远抽象的东西的贬低,并诉诸于近文本,传记或主题阅读。国家或机构机构对文学教师施加压力,要求他们采取“无所不有”的教学方法(在英国,每个学生都必须达到英语a - level“评估目标”,以获得高分),再加上学生抵制阅读手边文本以外的任何东西,也许也有助于这样一个事实,即“理论神话”往往只有在有关读者达到本科或更高水平时才会被揭穿。正如埃文斯在他的引言中所写的那样,“任何文学文本的读者都不可避免地使用某种文学理论”(1),正是考虑到这一点,埃文斯以第一次世界大战诗歌选集为跳板,向读者介绍了各种理论方法的复杂性。为了提供一个框架,让感兴趣的“外行”读者可以开始接触文学理论,埃文斯以M.H.艾布拉姆斯的作家-文本-观众-“现实评论家”的示意图为起点(2),根据书中随后介绍的不同文学理论,将其扩展并列在表12.1(218-19)中。在接下来的章节中,作者从第一次世界大战中广泛的国际诗人的诗歌中寻找,从最合适的文学批评角度阐明了他们的各种复杂性。对于学术读者来说,如果没有强大的文学理论知识,现在就不可能“做”文学批评,埃文斯对艾布拉姆斯框架的使用可能看起来过时了,就像他使用时间顺序的理论轨迹一样,从亚里士多德和柏拉图的古典文学批评到当今批评中更流行的理论立场(如生态批评和后现代主义)。...
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Perspectives on World War I Poetry
Robert C. Evans, Perspectives on World War I Poetry (London: Bloomsbury Academic, 2014)A timely contribution to studies of the poetry of the First World War, Perspectives on World War I Poetry is part of Bloomsbury's multiple-genre 'Great War' collection, whose aim, in the centenary year of the outbreak of the First World War, is to provide a 'one-stop resource for those seeking to understand the Great War and its impact' (see: www.bloomsbury.com/thegreatwar).As the book's preface set out, its aims are primarily pedagogical and equalizing: to bring to the foreground of the study of the poetry of the First World War numerous relevant literary theories, while also dispelling the notion that literary theory is difficult or daunting. Many so-called 'simple' introductions to the study of literature through literary theory confuse rather than clarify through their attempts at simplification or accessibility, but Evans's study, perhaps because he chooses a specific literary focus for the theoretical exposition, is not one of these.It is unfortunate that there still should be an apparent need to dispel the myth of theory as the preserve of the over-complicating academic critic. And yet, in the average high school or even undergraduate classroom, the fear of 'theory' that this book seeks to address, is still all too apparent, manifesting as a disparagement of anything remotely abstract, and a resort to close-textual, biographical, or thematic readings. The pressures on teachers of literature by national or institutional bodies to take a 'bit of everything' approach to pedagogy (in the UK, the English A-Level 'Assessment Objectives' which each student must hit in order to get a high mark, springs to mind), coupled with the resistance of the student to read anything outside the text at hand, perhaps also contributes to the fact that the 'theory myth' is often only debunked once the reader in question has reached advanced undergraduate level or beyond.As Evans writes in his introduction, 'any reader of a literary text inevitably uses literary theory of some sort' (1), and it is with this in mind that Evans uses the springboard of a selection of First World War poems to introduce the complexities of various theoretical approaches to his reader. In order to provide a framework through which the interested 'lay' reader can begin to engage with literary theory, Evans takes as a starting point M.H. Abrams's schematic of writer-text-audience- 'reality critic (2), which is expanded and tabulated in terms of the different literary theories the book later introduces in Table 12.1 (218-19). And in the chapters that ensue, the author looks at poems from a wide, international range of poets of the First World War, elucidating their various complexities from the most appropriate literary-critical angles.To the academic reader who will likely take as a given that it is now impossible to 'do' literary criticism without a strong literary theoretical knowledge, Evans's use of Abrams's framework may seem outdated, as may his use of a chronological theoretical trajectory, from the Classical literary criticism of Aristotle and Plato to those theoretical standpoints more popular in present-day criticism (such as ecocriticism and postmodernism). …
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