具体描述
This volume of fourteen essays explores Chinese poetic modernism in all its facets, from its origins in the 1920s through 21st century manifestations. Modernisms in the plural reflects the complexity of the ideas and forms which can be associated with this literary-historical term. The volume’s contributors take a variety of focus points, from literary groups such as “9 Leaves” or “Bamboo Hat,” to individuals such as modernist sonneteer Feng Zhi 冯至, or Taiwan experimentalist Xia Yu 夏宇 (Hsia Yü), and Hong Kong modernist Leung Ping-kwan 梁秉钧, to non-biographically oriented chapters concerning modernist language, poetry and visual art, among other issues. Collectively, the volume endeavors to present as complete a picture of modernist practice in Chinese poetry as possible.
作者简介
Paul Manfredi’s research concerns modern and contemporary Chinese poetry and art, modernism, and urban culture in China in Pacific Lutheran University. His articles have appeared in Modern Chinese Literature and Culture, Journal of Modern Literature in Chinese, and Yishu: Journal of Contemporary Chinese Art, while his translations have appeared in various collections of modern and contemporary Chinese poetry. He now lives with his family in Bellevue, WA, a small city that is slowly but surely surpassing its status as mere “Seattle suburb.”
Christopher Lupke’s research interests lie in modern and contemporary Chinese literature, cinema, and culture. He began his study of Chinese in the late 1970s at the Chinese University of Hong Kong, pursued language study and research at National Taiwan University in the 1980s, and has lived in Hong Kong, Taipei, and Beijing. He was classically trained in Chinese at the University of Wisconsin under Tse-tsung Chow, Joseph Lau, and Robert Joe Cutter, and then further trained at Cornell in classical studies under Tsu-Lin Mei, modern studies under Edward Gunn, and in cultural theory under Daniel Schwarz, Jonathan Culler, Dominick LaCapra, Benedict Anderson, Biodun Jeyifo, Sander Gilman, Mary Jacobus, and many of the leading luminaries in literary and film theory. He is a prof in University of Alberta.
目录信息
The Origins and Historical Development of the Modernist Poets
著者： Dizhi Lan
From Du Fu to Rilke and Back: Feng Zhi’s Modernist Aesthetics and Poetic Practice
著者： Géraldine Fiss
页码： 38–56
Drama-tic Synthesis: Time, Memory, and History in the Writings of the Nine Leaves Poets
著者： Yanhong Zhu
页码： 57–81
The Classical Echo in Chinese Poetic Modernism
著者： Dian Li
页码： 82–103
Modernist Poetry from Taiwan
Xia Yu and the Modernist Tradition in Taiwan
著者： Michelle Yeh
页码： 107–131
Yu Guangzhong’s Modernist Spirit: from In Time of Cold War to Tug of War with Eternity
著者： Fangming Chen (陳芳明)
页码： 132–152
Li and Modernism: the Development of a Poetry Journal
著者： Meihui Ruan (阮美慧)
页码： 153–177
Bridging Borders in Contemporary Poetry
The Poetics of Exile: the Cases of Shang Qin and Bei Dao
著者： Nikky Lin
页码： 181–208
National Myth and Global Aesthetics: Reading Yeats alongside Chinese Poetic Modernism
著者： Christopher Lupke
页码： 209–234
Measure Words Not for Measure: a Linguistic Experiment in Modern Chinese Poetry
著者： Lisa Lai-ming Wong
页码： 235–257
Reconceptualizations of Poetry in the Post-Mao Era
Network Analysis as a Modernist Intervention: the Case of Chinese Poetry Readings
著者： Nick Admussen
页码： 261–282
Modernist Waves: Yang Lian, John Cayley, and the Location of Global Modernism in the Digital Age
著者： Jacob Edmond
页码： 283–303
Annotating the Aporias of History: the “International Style,” Chinese Modernism, and World Literature in Xi Chuan’s Poetry
著者： Lucas Klein
页码： 304–335
Modernist Literati: Abstract Art of Contemporary Chinese Poets
著者： Paul Manfredi
页码： 336–364
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读后感
用户评价
我必须承认，这本书为我提供了一个全新的框架来审视二十世纪中国诗歌的发展历程。它不仅仅是关于“写了什么”，更是关于“如何思考如何写”的深刻反思。作者在分析那些标志性文本时，往往能跳出简单的“好坏”评判，转而关注其内在的逻辑自洽性以及对未来可能性的预设。特别是书中对于技术和媒介变革如何反作用于文学形式的探讨，在今天看来，依然具有超前的洞察力。比如，早期作家如何应对印刷术带来的信息过载与自我表达的稀释，这一论述让我联想到了今天的数字媒体环境，可见其理论的持久生命力。阅读这本书，如同站在历史的制高点上，既能看清脚下的细节，又能把握远方的风向，它为读者搭建了一个坚实的思考平台，鼓励我们带着批判性的眼光去重读那些经典，去发现新的意义。
坦白说，这本书的学术密度是相当高的，但其叙事驱动力强大到足以将人牢牢吸附在书页上。作者对于文学批评史的梳理，堪称一绝。他没有仅仅停留在介绍作家的生平和作品，而是将他们置于当时错综复杂的政治、社会和文化光谱中进行考察。最让我印象深刻的是，作者是如何将不同地域的文学中心（如上海、北京等）的发展动态进行对比，展示出地方性如何塑造了普遍性的文学表达。这种跨区域的、多中心的考察方法，极大地丰富了我们对整体图景的理解。文字风格上，作者似乎游走在严谨的学术规范与富于激情的散文笔法之间，使得即便是涉及晦涩理论的部分，也显得生动活泼，没有丝毫教条主义的气息。它像是一部精心编排的交响乐，各个声部和谐共振，共同奏响了那个时代最复杂、最动人的乐章。
读完这本巨著，我感到一种强烈的知识拓宽感，尤其是在解析那些早期文学团体如何试图在传统与西方思潮之间架起桥梁的章节。作者对“现代性焦虑”的捕捉极为细腻，不仅仅停留在文本表层，而是探究了其背后的社会心理结构。我特别欣赏书中对不同文学期刊的详细梳理，这些期刊不仅是作品发表的载体，更是思想交锋的沙场。每一次运动的兴起与衰落，每一次宣言的发布与反驳，都被作者梳理得井井有条，逻辑清晰，脉络分明。这种宏大叙事下的微观聚焦，使得整体结构既有磅礴的气势，又不失细节的支撑。它不是那种晦涩难懂的纯理论著作，而是充满了对文本的深情回望，让人在吸收知识的同时，也感受到了那个时代文人燃烧的激情与理想。对于任何想要深入了解中国文学如何走向“现代”的读者来说，这本书都是一份不可或缺的路线图。
这本书的震撼力，很大程度上来自于其对“断裂与延续”这一核心母题的精妙处理。我们常常习惯于将现代文学视为对传统的彻底决裂，但作者却以一种近乎考古学家的耐心，层层剥开了这种表象，揭示了在那些激进的口号之下，诗人们如何巧妙地挪用、改造甚至颠覆了传统资源来构建新的美学体系。书中对意象的生成机制，以及语言在新的文化环境下面临的张力，进行了非常透彻的分析。例如，关于白话文运动如何与古典诗歌的韵律感进行“心照不宣”的博弈，那几段论述简直是醍醐灌顶。它迫使我们重新审视那些被简化标签化的“先锋”与“保守”，认识到真正的创造往往发生在模糊地带。阅读过程本身就是一种智力上的冒险，充满了发现的乐趣，每翻过一页，都会对已有的认知产生一次温柔而坚定的修正。
这部作品的深入探讨，简直像是在迷雾中点燃了一盏盏探照灯，精准地照亮了二十世纪上半叶中国文坛那些错综复杂的脉络。作者以惊人的学术功力和敏锐的洞察力，将我们从僵化的教科书叙事中解放出来，直面那些在时代洪流中挣扎、蜕变与创新的文学巨匠们。尤其是对那些被主流叙事边缘化的声音的挖掘，更是让人拍案叫绝。书中对不同流派之间张力的剖析，不仅仅是简单的罗列，而是深入到其美学根基和哲学思辨的层面，展现了现代性在东方语境下艰难而又充满活力的生长过程。阅读它，仿佛经历了一场与前辈作家们灵魂深处的对话，那些看似遥远的文学实验，在作者的笔下瞬间变得鲜活可感，充满了当下的回响。这本书无疑为理解中国现代文学的复杂性提供了一个至关重要的参照系，其严谨的论证和流畅的文笔，让即便是初涉此领域的读者也能感到启发与满足。
