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<div class="maxcode-quote"><b>以下是引用<i>daisyao</i>在2009/10/6 15:24:00的发言:</b><br/><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: #ff3300; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman"><font color="#000000"><font size="4">找到篇跟流派诗人英文文章,感觉很像 ~</font></font></font></span></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: #ff3300; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman"><font color="#000000"><font size="4"></font></font></font></span></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: #ff3300; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman"><font color="#000000"><font size="4">The first installment of <i>Testimony</i> was published in 1934 by the Objectivist Press, which had been started several years earlier to promote the views of poets including William Carlos Williams, Louis Zukofsky, George Oppen, and Reznikoff himself. They were believers in Objectivism, a short-lived but still influential offshoot of poetic Modernism, the early 20th-century assault by T. S. Eliot, Ezra Pound, and others on the Enlightenment-influenced poetics of their predecessors. For the Objectivists, the poem was an object, not a report by the poet of what he or she thought or felt. They rejected the emphasis by 19th-century Romantic poets like Wordsworth and Shelley on the poet's subjective experience of transcendent meaning as depicted through metaphor and symbol. (The title and opening line of Wordsworth's well-known poem about daffodils, "I wandered lonely as a cloud," is a good example of the tendencies that the Objectivists judged artificial and misleading.) The Objectivists believed that feeling and emotion should come through the choice of details and the sound and appearance of words on the page.<p></p></font></font></font></span></p><p></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: #ff3300; FONT-FAMILY: "mso-fareast-font-family:";"><p><font face="Times New Roman" color="#000000" size="4"></font></p></span></p><p><font face="Times New Roman" color="#000000" size="4"></font></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman"><font color="#000000"><font size="4">Reznikoff continued to work on <i>Testimony</i> throughout his life. In the 1960s, he published two new volumes (the first drawn from judicial opinions of 1885-1890, the second from opinions of 1891-1900); two additional volumes (1901-1910 and 1911-1915) were published after his death. In each of the later volumes, Reznikoff revised his art, reshaping the documentary material into syncopated lines of poetry.<p></p></font></font></font></span></p><p></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman"><font color="#000000"><font size="4">The Negro was dead/when the doctors examined him," a characteristic poem begins: <p></p></font></font></font></span></p><p></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><p><font face="Times New Roman" color="#000000" size="4"></font></p></span></p><p><font face="Times New Roman" color="#000000" size="4"></font></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman"><font color="#000000"><font size="4">They found upon his belly bruises: <p></p></font></font></font></span></p><p></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman"><font color="#000000"><font size="4">he died, the doctors said, of peritonitis.<p></p></font></font></font></span></p><p></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><p><font face="Times New Roman" color="#000000" size="4"></font></p></span></p><p><font face="Times New Roman" color="#000000" size="4"></font></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman"><font color="#000000"><font size="4">While the shift in form draws even more attention to the language (as in the isolation of "bruises" in the lines just quoted), the later editions employ the same third-person perspective, looking to the objective language of a judicial opinion, the words as words, rather than subjective experience or metaphor, for the emotional intensity of the poem. With its use of judicial opinions as the raw material of poetry, Testimony radically undercuts the traditional assumption that the poet works in a private sphere that is somehow separate from the pressures and pulls of the public domain. Not only is the poem an object, but it is an object taken from the workaday world that poets traditionally have viewed as unsuitable for poetry. Testimony never lets us forget that it is judicial opinions the poet is expounding. <p></p></font></font></font></span></p><p></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><p><font face="Times New Roman" color="#000000" size="4"></font></p></span></p><p><font face="Times New Roman" color="#000000" size="4"></font></p><p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt;"><span lang="EN-US" style="FONT-SIZE: 10pt; COLOR: red; FONT-FAMILY: "mso-fareast-font-family:";"><font face="Times New Roman" color="#000000" size="4">Reznikoff's most important innovation and chief legacy to subsequent poets was this use of social speech, the public language of lawyers, to further the Modernist project of drawing attention to the linguistic qualities of a poem. By juxtaposing the descriptions of fact—the underlying story—of one case after another, he created an emotionally powerful collage from the apparently impersonal language of judicial opinions, a collage that chronicles <country-region wst="on"></country-region><place wst="on"></place>America<place></place><country-region></country-region>'s struggle with slavery and its emergence as a commercial and industrial power.</font></span></p></div><p>Very good very good!!!!!!!!!!!!!! I think this RC is the hardest in this month's 鉤鉤</p> |
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