歡樂、遊戲與諧趣：管管的頑童詩學

The Carnivalesque, the Playful and the Comical: Guan Guan's Urchin Poetics

本文從拉岡的精神分析符號學及其它當代理論視角來觀察管管詩中的修辭特徵與文化精神。管管的超現實美學往往與狂歡風格融合在一起，以怪誕卑下的方式衝擊了原本神聖的符號。在許多詩作中，管管還實踐了一種不斷滑動跳躍的言說策略，以歷時性的超現實置換演示了能指的永恆變幻。無論如何，管管詩學的主體困乏在很大程度上是傳統文人狂放與自嘲精神的重新體現。而他詩中的童趣與遊戲精神也必須理解為對創傷經驗及其符號化努力之間的永恆辨證。

This essay observes the rhetorical characteristics and the cultural spirits in Guan Guan's poetry from Lacanian psychoanalytic semiotics and other contemporary theoretical perspectives. Guan Guan's surrealistic aesthetics is usually blended with his carnivalesque style, challenging the originally majestic signs in base and grotesque ways. In many of his poems, Guan Guan practices an incessantly sliding or leaping strategy of speech, displaying the perpetual shifts with diachronic surreal displacements. In any case, the subjective destitution in Guan Guan's poetry can be seen as a reactivation of the unrestrained and self-mocking mindset of traditional Chinese literati. The childish taste and playful spirit in his poetry must be understood as the ceaseless dialectical movements between trauma and the effort to symbolize it.