英文摘要 |
Bai Hua's two poetry collections (Shiji:from late Qing to the ROC and Shiji: 1950-1976) are both tour de force that narrate the history in the style of poem. The poet accomplishes his imagination and reconstruction of the history of modern China by intercepting and collaging the fragments between the main body and annotations. This composing methodology is not only influenced by the modern theory of depersonalisation by T.S.Eliot and Le degré zéro by Roland Barthes, but also an inheritance and development of the “Poetry-history” tradition in Chinese classical poetics, and can hence be defined as a kind of “New Poetry-history”. Moreover, the spirit of “dissolute pleasure” is deeply embedded in Bai Hua's historical narrative, which consists of the two opposite while complementary poles: one is a kind of extreme “interestness”, a combination of the Japanese literatures tradition deprived from Makura no Sōshi by Sei Shōnagon (966-1025) and Symbolic poetics; the other is fetishistic exquisiteness and leisureness, a solemn attitude in the details of daily life. This spirit is the main scope through which Bai Hua reflect on the modern Chinese history, and also the dominant color of tradition poetic China as he considers. To this extent, these two collections manifest the multi-aspect condition regarding how the tradition China reacted to the intruding of modernity. In the ethnographical depict of Chinese modern history, Bai Hua shows his lament and resist against the elapse of time and his concern and reflection on the paradox historical progress. |