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男性视角贴近昌耀的生存现实和生存体验,给予他直接书写的便捷,因此在其长达半个世纪的诗歌创作中,都以单数“我”、“他”及复数“我们”等男性视角,作为抒情或叙述的中心展开心灵的记历。昌耀的后期诗歌,在追忆、自省和反讽中,通过自我内部的分裂和挣扎,保留了富于反抗精神的英雄品质。两种相抗衡的力量在诗人心中展开一场永无止境的拉锯战,落到诗稿上,便成了永未完成的变异。主体形象的变异,是诗人进行怀疑、审视和批判的一种艺术表现。
The masculine perspective close to Changyao’s existential reality and experiencing experience gives him the convenience of direct writing. Therefore, in his half century-long poem writing, the singular “I”, “He” and “Plural” We "and other male perspective, as the center of lyrical or narrative to start the mind calendar. Changyao’s later poems, in recalling, introspection and irony, retained the heroic spirit of rebelling through self-internal divisions and struggles. The two competing forces embarked upon a never-ending tug of war in the poet’s heart and fell into an unpredictable mutation when they fell on poetry. The variation of the main image is an artistic expression of the poet’s suspicion, examination and criticism.