作　　者： ;

机构地区： 华南农业大学

出　　处： 《湘潭大学学报：哲学社会科学版》 2018年第6期110-114,共5页

摘　　要： 新世纪女性诗歌既是对20世纪女性诗歌书写的承续，亦有坚定的悖逆与拆解。历史想象力的重铸是 “独白”姿态的一种转向，女性诗人从自身转向历史与现实，有效勾连了自我与世界的现实关系；女性经验的拓展则承续了1990年代女性诗歌的经验书写，但连续中有着鲜明的变异，即女性诗人挣脱了闭抑的、概念化的性别经验的呈现，而将女性经验融入到个人具体的生存境遇之中，并藉此抵达更为阔大的生存本相；日常美学的扩张是新世纪常态化社会语境下，当代女性诗人对于诗歌书写范式的一种自觉选择，将诗意下沉至日常生活，并从中形构出一套寻求诗意的诗学方式。上述三种书写向度都表征了一种新的女性诗歌的形成，包涵了新世纪女性诗人特有的精神立场。 The female poetry in the new century is not only a continuation of the female poetry in the last century, but also a finn disobedience and disassembly. The recasting of historical imagination is a kind of turn of monologue. Female poets turn from their own to history and reality, and effectively conceive the realistic relationship between themselves and the world. The expansion of female experience continues the writing of female poetry in the 1990s, but in succession there is a distinct variation, that is, female poets set themselves free from the closed, conceptualized presentation of gender experience. The expansion of daily aesthetics is in the context of the normalization of society in the new century. A conscious choice of the poetic writing paradigm, the contemporary female poets sink the poetic meaning into daily life, and form a set of poetical ways to seek the poetic meaning, and the above three writing dimensions all represent the formation of a new female poetry. It contains the unique spiritual stand of female poets in the new century.

关 键 词： 新世纪 女性诗歌 嬗变 向度

分 类 号： [I206]

领　　域： []