摘要
现代主义文学记录下留声机带来的时空重构、公私交叠、言语解体、浪漫主义灵性声音的市场物化、对话语质地和节奏的聚焦、对即逝现时的历史意识、对声音的民主包容、人身上的非人性,以及话语、声音、经验和主体性的去身体化、错位、怪怖和碎片化.自诞生起,留声机也在19、20世纪之交的神经科学话语下被比作记录和重放的大脑.在艾略特、克兰、史蒂文斯等诗人的留声机意象里,诗人们敏锐捕捉到新声景下机械留声与听觉主体意识及写作的关联,提供了独特诗作以探寻听觉意识、思维与环境之共鸣,由此再思考现代主义诗歌中的留声/记音诗学.
Abstract
The phonograph has left an indelible imprint on modernist literature,bringing forth the reconstruction of time and space,the overlapping of the public and the private,the decomposition of language,the commercial reification of the Romantic voice,the actual speech texture and rhythm,the historical consciousness of a dead nowness,the sonorous democratic inclusiveness,the inhumanity in human life,as well as the disembodiment,displacement,fragmentation,and uncanniness of speech and sound that in turn affected the modern subjectivity.From its birth,the phonograph has also been analogized to the recording and recalling faculty of the human brain enlightened by the turn-of-the-19th-and-20th century neurobiology.In the phonograph imageries from poets like T.S.Eliot,Hart Crane,and Wallace Stevens,they intuited the influence of mechanical sounds on the subjective consciousness and writing,providing idiosyncratic cases to explore the acoustical consciousness,the mind in resonance with its environment,and a phono-graphic poetics of modern poetry.
维普
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