摘要
在内蒙古汉语诗歌写作群体中,诗人张蜀恒绝对是个异类。张蜀恒对"诗歌+评书"的立体诗歌范式进行了先锋实验,主张"诗歌评书"的表演技巧主要有嗓子活、面子活、身子活等。本文就张蜀恒"诗歌评书"所表现出的声音诗学,从三个方面进行阐述:一是诗人不自觉的回到诗歌最初的形式尝试,以及与《诗经》的诗学关联;二是以方言入诗的"以暴制暴"问题;三是诗人介入生活的努力,即加大诗歌表现的民生容量。从中我们都能感受到了张氏声音诗学的独特魅力。
In Inner Mongolia chinese poetry writing group,the poet Zhang Shuheng is absolutely different.Zhang Shuheng do pioneer experiment to the three-dimensional poetry paradigm of ＂poetry ＋ ballad＂,and advocate the performance skills there are about throat,face and body,etc.This is Zhang Shuheng ＂poetry＂,which shows the voice poetics,from three aspects： first is the poet describes it back to the original form of poetry,songs and poetics;the second is the ＂dialect retributive violence;third is that life is a poet in the poetry,in another words,increasing efforts of the capacity of minsei.We can feel the unique charm of Zhang＇s voice poetics.
出处
《内蒙古民族大学学报（社会科学版）》
2010年第4期58-62,共5页
Journal of Inner Mongolia Minzu University：Social Sciences
关键词
内蒙古汉语诗歌写作
张蜀恒
声音启蒙
被委以重任的方言
介入
民生容量
Inner Mongolia Chinese Poetry Writing
Zhang Shuheng
Voice Enlightenment
the Dialect is Entrusts with an Important Task
Intervene
the Capacity of Minsei
