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Chicago Review Article 芝加哥评论文章
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-12-22 DOI: 10.2307/25304801
Stan Brakhage
There are many living poets who inspire my life, whose work I enjoy as a regularity in my living, but there are three, right now, who contribute directly to my filmmaking as powerfully as Pound, Stein, Olson, Creeley, Dorn when I was young (*) (as powerfully as "the ancients" of the craft whose poems form a basis for my, and everyone else's, English-language being): these three today are Michael McClure, Ronald Johnson, and Lisa Jarnot. McClure's aesthetic evolution has, since the friendship in our early twenties, always seemed consonant with mine--i.e., his words worn as if "on the sleeve" of his physical being (much as I see my filmed images as extensions of my optic system, and then later my whole body as mentor to that system. Finally now the medium itself, the muse, as it were, becomes outlet for my nerve system's most hidden sparking innards). McClure always, and more and more as he grows older, gives his reader access to the verbal impulses of his whole body's thought (as distinct from simply and only brain-think, as it is with most who write). He invents a form for these cellular messages of his, a form which will feel as if it were organic on the page; and he sticks with it across his life "like a solid moving through an inferno." I too stick with the given window of film, the slightly variable rectangle of film's-frame; and I (however much I admire D. W. Griffith's varieties of frames) adhere to that widening beam of projector ligh t and its rectangle of eye's composed feed-back--this "the stage" for sharing the anomalies of my visual privacy... (only exception, the Purgation sequence of The Dante Quartet, in cinemascope for its "widening gyre" of transformation, as Yeats would have it): and my display of visions (like Michael's enverbaled vision) come to the film window ("the page"?) directly from my physical self, the rhythms and tones of my biological response, my very breath and organic breadth of being. Few poets have managed to complete an epic poem in our Time: Pound's Cantos are left undone, trailing off in a ragged stitch of lines more emblematic of the social Times of their post-WW II writing then integrally related to the whole poem; Olson also leaves a lovely "garland," as it were, of variants upon the themes of Maximus Dr. W. C. Williams also veering off Patterson into the variant greatness of Desert Music; H. D. coming-to-rest but not to a thematic conclusion of Helen In Egypt. The only completed epic poetics of the twentieth century I personally accept-as-such are those of Louis Zukofsky, his "A", Gertrude Stein, her Stanzas in Meditation, possibly completed, although one wonders (in the light of Ulla Dydo's monumental research) if the terrible quarrel between Alice Toklas and Gertrude didn't shift the poem radically away from its pristine linguistic beginnings into the more narrative drama of their irresolvable argument. Finally, for me then, we have Ronald Johnson's ARK, miraculously finished a couple years before his d
有许多在世的诗人启发了我的生活,我把他们的作品当作生活的一部分来欣赏,但现在有三位诗人直接对我的电影制作做出了巨大的贡献,就像我年轻时的庞德、斯坦、奥尔森、克里利和多恩一样(就像这门手艺的“古人”一样,他们的诗歌为我和其他人的英语生活奠定了基础):这三位是迈克尔·麦克卢尔、罗纳德·约翰逊和丽莎·贾诺特。自从我们二十出头的友谊以来,麦克卢尔的审美演变似乎总是与我的一致。他的话就像“穿在袖子上”一样(就像我把我拍摄的影像看作我的视觉系统的延伸,然后把我的整个身体看作那个系统的导师一样)。最后,媒介本身,缪斯,可以说,成为了我神经系统最隐蔽的内部火花的出口)。随着年龄的增长,麦克卢尔总是(而且越来越多地)让读者接触到他整个身体思想的语言冲动(这与大多数作家的简单思维截然不同)。他为他的这些细胞信息发明了一种形式,一种在纸上感觉像是有机的形式;他一生都坚持着它,“就像一个穿过地狱的固体。”我也固守着给定的胶片窗口,胶卷框架的矩形略有变化;而我(无论我多么欣赏d·w·格里菲斯(d.w. Griffith)的各种画框)坚持使用投影仪不断扩大的光束和它的矩形眼睛组成的反馈——这是分享我视觉隐私异常的“舞台”……(唯一的例外是《但丁四重奏》(the Dante Quartet)中的“净化”(puration)片段,在电影院里,正如叶芝所说的那样,它“不断扩大的环流”发生了转变):我的视觉展示(就像迈克尔的语言化视觉一样)直接从我的身体自我、我的生物反应的节奏和音调、我的呼吸和存在的有机广度来到电影窗口(“页面”?)在我们这个时代,很少有诗人能够完成一首史诗:庞德的《诗章》没有被完成,在一段支离破碎的线条中逐渐消失,这些线条更象征着他们二战后的社会时代,然后与整首诗完整地联系在一起;奥尔森还留下了一个可爱的“花环”,可以说,是马克西姆斯·w·c·威廉姆斯博士的主题的变体,也从帕特森转向了沙漠音乐的变体伟大;h。d。安息了,但没有得出《海伦在埃及》的主题结论。我个人接受的二十世纪唯一完成的史诗是路易斯·祖可夫斯基的作品,他的“A”,格特鲁德·斯坦,她的《沉思诗节》,可能已经完成了,尽管有人想知道(根据乌拉·迪多不朽的研究)爱丽丝·托克拉斯和格特鲁德之间的可怕争吵是否没有从根本上改变这首诗从原始的语言开始进入他们无法解决的争论的更叙事的戏剧。最后,对我来说,我们有罗纳德·约翰逊的方舟,奇迹般地在他去世前几年完成。这部作品比任何史诗作品都重要(因为庞德的《诗章》启发了我的电影《狗星人》),它直接催生了一部与之相呼应的史诗电影《温哥华岛三部曲》:我有时站在齐腰深的海洋里,阅读罗纳德好心送给我的那首诗(在方舟50号之后)的打字(当时尚未出版)续篇。八年后,当我拍摄我的电影的第三部分时,整首诗已经印刷出来(加上对我自己的口头描述)。罗纳德和我都来自堪萨斯州,迈克尔·麦克卢尔也是如此(我们三个人都在相距不到100平方英里的地方长大)。罗纳德从这些“基础”出发,管理着最终包含西方世界的语言景观,它的历史最终(就像在一个孩子的视野中一样)向下延伸到地理学和生物学之前的精确,并与诗人语言的眼睛和耳朵合而为一——对居住在堪萨斯州(在倒立的蓝色天空下)种植谷物的平原上的“真正的蟾蜍”(玛丽安·摩尔会这么说)的一系列想象的认识。...
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引用次数: 1
Geometric versus Meat-Ineffable (1994) 几何对肉——不可言喻(1994)
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-12-22 DOI: 10.2307/25304803
Stan Brakhage
From "time...en dit" There are two pictorial extremes of human thought process--The Geometric and (what I like to call) Meat-ineffable...no "the" before "Meat"--inasmuch as raw cells are such a diversity of impulse as to defy hierarchy. To be sure, it is such diversity-of-cells' electrical arcing which hatches The Geometric also, but it does so in spite of the originating cell structure irregularities--as an act-of-spark, I'd guess, or rather in organized emulation of the energies of their synapse process...as an Ideal, so to speak, of the "straight" energetic snap-line between two cells, the triangle between three, square four, soforth on up the scale of "hedrons" until a "circle" can be inferred. It is all (i.e. Geometrical Thought) inferred, inasmuch as meat energies move in waves, as pulse: but the inference is intrinsic to Humans, existing only in Nature where Humans are-as anyone knows who has flown over wilderness and then, from an airplane window, spotted the beginning of Farm or Town. The so-called geometrics of the bee-hive, or of the flies' eyes, are (upon closer inspection) mere approximates of such as the Human Mind imagines--and then "reads into" the microcosms of Nature--as are the idealized circles of suns, the rectangles of rock formation, or those fractured symmetries of the Crystalline so prized by humans, all approximations of The Geometrical Mind (including Towns and Farms) which when presented to human sensibility are prized simply because the imaging of them (through the viscous meaty orbs of human receptivity) is more easily absorbed as corollary of a mental ideal than, say, the ordinarily overwhelming multiplicity of most of Nature's irregularly globular and disjunctly fretted entanglementof-curves impinging (via radiant waves) upon the senses. The Human Mind has fashioned its Ideal in despite and despising of its self's pulp of animal being-an ordering at the expense of cell's self...a bureaucracy of...a veritable facism of...sense's sense of self. Language is but an offspring of this mode-of-thought, for all words are but signs evolved from, and implicit in, the geometries of thinking. Contrarily, and as an antidote to the rigidities of The Geometric, Meat-ineffable is that steady inclination of the brain to mimeticize its intrinsically variable shapes as visible manifestations resistant to either name or category but true (in its variability, to begin with) to the very organic mode (as distinct from process) of its own existence. Whether there are, or are not, straight lines in Nature is beside the point: we are too viscous to receive them as such...thus they must, if that IS The Ideal, be invented by thought. Words are, at scratch, but a glyphic extension of Geometric thought inasmuch as words can be seen as signs which (certainly as hieroglyphs) abstract the phenomenological input of the visible world. These signifiers later evolve to make oblique reference to ear's intake, as the tongue is given further (and more ab
从“时间…“人类思维过程有两个形象化的极端——几何的和(我喜欢称之为)肉的——不可言喻的……没有“肉”之前的“the”——因为原始细胞是如此多样化的冲动,以至于蔑视等级。可以肯定的是,正是这种细胞的电弧多样性孕育了“几何”,但它是在细胞结构不规则的情况下孕育出来的——我猜,这是一种火花的行为,或者更确切地说,是对突触过程能量的有组织的模拟……作为一种理想,可以这么说,两个细胞之间的“直的”能量扣线,三个细胞之间的三角形,四个细胞之间的正方形,以此类推,直到可以推断出一个“圆”。这一切都是推断出来的(即几何思想),因为肉的能量像脉冲一样以波的形式运动着;但这种推断是人类固有的,只存在于人类所在的自然界中——任何一个飞过荒野,然后从飞机窗口看到农场或城镇的开端的人都知道。所谓的蜂巢或苍蝇眼睛的几何形状,(如果仔细观察的话)只不过是人类头脑想象的近似值——然后“解读”自然的微观世界——就像理想化的太阳的圆圈,岩石的矩形,或那些被人类如此珍视的水晶的破碎的对称一样。所有几何心灵的近似(包括城镇和农场),当呈现给人类的感受力时,都是珍贵的,因为它们的图像(通过人类接受能力的粘稠的肉质球体)更容易被吸收为一种精神理想的必然结果,而不是通常压倒性的自然界大多数不规则的球形和离散的微扰纠缠曲线的多样性(通过辐射波)冲击感官。人类的心灵在无视和蔑视自己的兽性本质的情况下塑造了自己的理想——一种以牺牲细胞的自我为代价的秩序……官僚主义的……一个真正的……感官的自我意识。语言不过是这种思维方式的产物,因为所有的文字都不过是由思维的几何图形演变而来的符号,并隐含在其中。相反,作为《几何》僵化的解毒剂,不可言说的是,大脑稳定地倾向于将其内在可变的形状最小化,使其成为可见的表现形式,既不受名称或类别的影响,也不受自身存在的有机模式(与过程不同)的影响。不管自然界是否有直线,这都无关紧要:我们太粘了,无法接受直线……因此,如果理想就是理想的话,它们就必须由思想创造出来。从根本上说,文字不过是几何思想的一种象形文字的延伸,因为文字可以被看作是抽象了可见世界的现象学输入的符号(当然是象形文字)。这些能指后来演变成间接指向耳朵的入口,因为舌头被给予了进一步的(和更抽象的)暗示,让嘴巴指向不可见的东西(就像当象形文字文化把像名词一样的图画形像组合在一起,以表达行动和过渡的紧张):它只存在于具有弯曲和卷曲形像的文化中,比如阿拉伯语,将命名法扩展到完全抽象的领域。如果将“图像”定义为“一个框架内可命名的形状的集合”,那么可以看出,听觉的旋转和盘绕内部允许细胞生命的不可定义的变化来模仿自己,再次允许肉意识开始在图像制作中表达其自我形状。但是,一旦“图画”被定义为“在一个框架内组成的可命名形状的集合”,那么这些形状的顺序就不可避免地要服从构成逻辑的规律;因此,这种排序越来越暗示着构成逻辑的连接线、三角形、正方形等等,因此,《几何》对几何网格中的每一个图形形式都具有近乎绝对的权威,并且(因为这些是“可命名的形状”)对每一个形状的外部世界都有几何上的参考。...
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引用次数: 0
Tales of the Tribes 部落的故事
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-12-22 DOI: 10.2307/25304809
P. A. Sitney
Introducing Andrei Tarkovsky to an audience at the 1983 Telluride Film Festival, Stan Brakhage declared: I personally think that the three greatest tasks for film in the 20th century are 1) To make the epic, that is, to tell the tales of the tribes of the world. 2) To keep it personal, because only in the eccentricities of our personal lives do we have any chance at the truth. 3) To do the dream work, that is to illuminate the borders of the unconscious. (1) Although he praised Tarkovsky as "the greatest living narrative film maker" and the only one who "does all these three things equally in every film he makes," Brakhage seems to have been acclaiming Tarkovsky for independently replicating his own agenda, most obviously in the requirements for personal filmmaking and explorations of "the dream work." In the nearly twenty years since he made that introduction, Brakhage has accelerated his own version of affirming the "tales of the tribe": Anazazi Indians, Dante, Marlowe, Goethe, Novalis, Stephen Foster, D. H. Lawrence, Plato, Rilke, Mann, and Stein have been evoked in the titles and themes of various films. An even more revelatory catachresis of the words "telling" and "tales"--implicitly acknowledged by Brakhage's use of quotation marks--appeared in a theoretical text of 1993: Some ur-consciousness also then must be inferred--each cell both shaper and carrier of every spark struck from and through it, affected by each impulse-backlash and in synaptical montage with each previous and following impulse: the whole organism feeding its varieties-of-fire into this interplay between brain and eye, as finally each cell of the foetal body can be intuited to be "telling" its "story" interactive with every other cell's story throughout the developing body, over-ridden by some entirety of rhythming light (as every individual heart-cell is conjoined to the dominating beat of each heart-part's over-riding beat) in the conglomerate rhythm of the whole heat-light of any given organ...of which each cell is a radical part compromised by every other cell's variable interaction, all contributory to the organic "tales" of these cells in concert. (2) Through an ironic loop in the history of avant-garde film theory, here Brakhage offers, in 1993, a physiological phantasmagoria in justification of what Hollis Frampton once facetiously called "Brakhage's Theorem" (1972)--that all films are narrative. More narrowly conceived, the Biblical and Classical tales of the tribes have been elliptically retold in Brakhage's films, off and on, since the 1950s: Oedipus (The Way to Shadow Garden [1954]), The Descent to the Underworld (The Dead [1960], Dante's Styx [1975]) The Sinai theophany (Blue Moses [1962]), Apocalypse (Oh Life, a Woe Story, The A Test News [1963]), Genesis (Creation [1979]), The Fall (The Machine of Eden [1970], The Animals of Eden and After [1970]), The Vision of Isaiah (The Peaceable Kingdom [1971]), The Afterlife and Orpheus (The Dante Quartet [1987]), and
在1983年的特柳赖德电影节上,斯坦·布兰克奇向观众介绍安德烈·塔可夫斯基时说:“我个人认为,20世纪电影最伟大的三个任务是:1)制作史诗,也就是说,讲述世界各部落的故事。2)保持个性,因为只有在我们个人生活的怪癖中,我们才有机会了解真相。3)做梦的工作,就是照亮无意识的边界。(1)虽然他称赞塔可夫斯基是“最伟大的活着的叙事电影制作人”,也是唯一一个“在每一部电影中都平等地做到这三件事”的人,但布拉哈格似乎一直在称赞塔可夫斯基独立地复制了自己的议程,最明显的是对个人电影制作和探索“梦想作品”的要求。在他做了这个介绍后的近二十年里,布拉哈格加速了他自己的版本,以肯定“部落的故事”:阿纳扎齐印第安人、但丁、马洛、歌德、诺瓦利斯、斯蒂芬·福斯特、d·h·劳伦斯、柏拉图、里尔克、曼和斯坦在各种电影的标题和主题中被引用。在1993年的一篇理论文章中,“讲述”和“故事”这两个词出现了更具启示性的变化——布拉哈格使用了引号,含蓄地承认了这一点:一些潜意识也必须被推断出来——每一个细胞都是每一个火花的塑造者和载体,受到每一个脉冲反冲的影响,受到每一个前后脉冲的突触蒙太奇的影响:整个生物体在大脑和眼睛之间的相互作用中提供了各种各样的火焰,因为最终胎儿身体的每个细胞都可以直观地“讲述”自己的“故事”,与整个发育中的身体中其他细胞的故事相互作用,在任何给定器官的整个热-光的综合节奏中,被一些有节奏的光所覆盖(就像每个单独的心脏细胞与每个心脏部分的主导节拍相结合)。其中每个细胞都是一个激进的部分,受到其他细胞可变的相互作用的损害,所有这些都促成了这些细胞协调一致的有机“故事”。(2)通过先锋派电影理论历史上的一个讽刺循环,布拉哈格在1993年提出了一个生理上的幻觉,为霍利斯·弗兰普顿(Hollis Frampton)曾经滑稽地称之为“布拉哈格定理”(Brakhage’s Theorem, 1972)的理论辩护——所有的电影都是叙事的。自20世纪50年代以来,布拉哈格的电影中断断续续地重复着《圣经》和《古典》中关于部落的故事,这些故事的构思更为狭隘。俄狄浦斯(通往阴影花园的路[1954]),下降到地下世界(死亡[1960],但丁的冥河[1975])西奈神通(蓝色摩西[1962]),启示录(Oh Life, a Woe Story, The a Test News[1963]),创世纪(创造[1979]),堕落(伊甸机器[1970],伊甸动物和之后[1970]),以赛亚的视觉(和平王国[1971]),来世和俄耳甫斯(但丁四重谈[1987]),和柏拉图的洞穴寓言(冥想中的视觉#3)[1987])。在《创造》(1979)中,他记录了他在完成《真诚/口是心非》系列期间对阿拉斯加冰川的访问。这个由巨大的冰和伤痕累累的岩石组成的世界的崇高景象的直接灵感来自19世纪美国风景画家弗雷德里克·埃德温·丘奇(Frederic Edwin Church)的艺术作品,布拉哈格研究了丘奇的作品十多年。在丘奇冰山画的背后,有着丰富的绘画和文学传统,卡斯帕·大卫·弗里德里希的北极场景和爱伦·坡的南极幻想在他的结语《阿瑟·戈登·皮姆的叙述》中得到了突出体现。大卫·亨廷顿(David Huntington)呼吁丘奇的作品为他的艺术提供精神背景:我们在1857年的《蜡笔》(the Crayon)中读到,艺术家应该把事物“恢复到创造时的样子”。或者,在同一份杂志的另一页上,他应该描绘“被救赎的世界的形象”。...
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引用次数: 2
Autoinhibition of mixed lineage kinase 3 through its Src homology 3 domain. 通过 Src 同源 3 结构域自动抑制混合系激酶 3。
3区 文学 0 LITERARY REVIEWS Pub Date : 2001-12-07 DOI: 10.1074/jbc.M107176200
H Zhang, K A Gallo

Mixed lineage kinase 3 (MLK3) is a serine/threonine protein kinase that functions as a mitogen-activated protein kinase kinase kinase to activate the c-Jun NH(2)-terminal kinase pathway. MLK3 has also been implicated as an I kappa B kinase kinase in the activation of NF-kappa B. Amino-terminal to its catalytic domain, MLK3 contains a Src homology 3 (SH3) domain. SH3 domains harbor three highly conserved aromatic amino acids that are important for ligand binding. In this study, we mutated one of these corresponding residues within MLK3 to deliberately disrupt the function of its SH3 domain. This SH3-defective mutant of MLK3 exhibited increased catalytic activity compared with wild type MLK3 suggesting that the SH3 domain negatively regulates MLK3 activity. We report herein that the SH3 domain of MLK3 interacts with full-length MLK3, and we have mapped the site of interaction to a region between the zipper and the Cdc42/Rac interactive binding motif. Interestingly, the SH3-binding region contains not a proline-rich sequence but, rather, a single proline residue. Mutation of this sole proline abrogates SH3 binding and increases MLK3 catalytic activity. Taken together, these data demonstrate that MLK3 is autoinhibited through its SH3 domain. The critical proline residue in the SH3-binding site of MLK3 is conserved in the closely related family members, MLK1 and MLK2, suggesting a common autoinhibitory mechanism among these kinases. Our study has revealed the first example of SH3 domain-mediated autoinhibition of a serine/threonine kinase and provides insight into the regulation of the mixed lineage family of protein kinases.

混合血统激酶 3(MLK3)是一种丝氨酸/苏氨酸蛋白激酶,具有丝裂原活化蛋白激酶激酶的功能,可激活 c-Jun NH(2)-末端激酶通路。MLK3 在其催化结构域的氨基末端含有一个 Src 同源 3(SH3)结构域。SH3 结构域含有三个高度保守的芳香族氨基酸,对配体结合非常重要。在这项研究中,我们突变了 MLK3 中的一个相应残基,故意破坏其 SH3 结构域的功能。与野生型 MLK3 相比,这种 SH3 缺陷突变体 MLK3 的催化活性有所提高,这表明 SH3 结构域对 MLK3 的活性有负向调节作用。我们在本文中报告了 MLK3 的 SH3 结构域与全长 MLK3 的相互作用,并将相互作用的位点绘制到了拉链与 Cdc42/Rac 交互结合基序之间的区域。有趣的是,SH3 结合区不包含富含脯氨酸的序列,而只包含一个脯氨酸残基。突变这唯一的一个脯氨酸,可以消除 SH3 结合,提高 MLK3 的催化活性。综上所述,这些数据证明了 MLK3 是通过其 SH3 结构域进行自动抑制的。MLK3的SH3结合位点中的关键脯氨酸残基在密切相关的家族成员MLK1和MLK2中是保守的,这表明这些激酶之间存在共同的自抑机制。我们的研究首次揭示了由 SH3 结构域介导的丝氨酸/苏氨酸激酶的自身抑制作用,为我们深入了解蛋白激酶混系家族的调控机制提供了新的视角。
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引用次数: 78
The Precision We Need Is of Another Earth 我们需要的精度是另一个地球
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-10-01 DOI: 10.2307/25304780
Sarah Manguso
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引用次数: 0
Deal Me Jacks or Better 给我千斤顶或更好的
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-10-01 DOI: 10.2307/25304785
J. Kudritzki
She was alone, in the passenger's seat, with the windows up, her face screened behind a manila folder spread open like a newspaper. Her station wagon was dark and foreign, running in one low arc from bumper to bumper. The tires were wide with a low profile. Epaulettes and effects of polished aluminum decorated the fenders and doors. The interior was like shade: neither blue nor black. Clarke became nervous at the door of her car. When he rapped on the window, she shook the folder in irritation. Her husband wasn't standing by the filling pumps or in the hard plastic chairs of the cramped waiting room. Clarke rapped again. The folder remained raised. He said, "I'll drive your car into the shop for your test. But I need your consent." "Yes." Before gripping the door handle, Clarke donned latex gloves from the breast pocket of his coveralls. The console signaled and sounded when he opened the door. As he placed paper gaskets on the seat and floorboards, she spoke, "Do I have to get out?" "No." It was twenty after four. The station wagon was sitting sleek in the garage. It was the last car of the day. He could stretch out the inspection until five. Clarke stopped around the back of the station to smoke. He squatted with his back against the building; his coveralls bunched at the waist and clutched the knees. He was short and narrow with closely cropped hair above a brown, unruly beard. Sunglasses with polarized lenses straddled the crown of his head. Slunk beneath a long, garrisoning line of eucalyptus trees, the filling station served both Ostler's Valley and Kettle City. To one side, the huddled shops of Ostler's Valley, including a grocery. Then the road swayed, ascending into the close, wooded hills, the houses and parochial school stationed in the redwood and acacia groves. The windows of Ostler's Valley reflected the spread of flat ground-beyond the gas station-that supported Kettle City. In the distance, the fog dumped onto its long, drab apartment buildings. Their flesh-toned walls appeared tawny beneath dark, tarred roofs. Closer, the public school was just getting the hoary wisps. The adjacent sanitation depot was still in sunshine. Then, a quarter mile of thin two-lane road split a run of open earth and gave access back to the gas station, Clarke against the back wall. The brief back lot was spread with eucalyptus leaves, some blackened in spots of spilled lubricants or fuels. The trees above were limber in the wind. He keyed up the computer and slipped the sniffer-sensor into the tailpipe. He entered the car, leaving one boot on the ground. He turned: hair tightly fixed to her head, gray eyes, no earrings, evenly-- tanned skin that was dark about the knees and elbows. He tried to start it. Nothing. He checked the gearshift. He tried it again. He removed the key and reinserted it. As he started to exit the car, she laughed. "The door has to be shut for it to start." Clarke, further flushed, felt himself forcing the easy action of the igniti
她独自一人坐在乘客座位上,窗户开着,她的脸被一张马尼拉纸夹挡住,像报纸一样展开。她的旅行车是黑色的,是外国的,从一个保险杠开到另一个保险杠。轮胎很宽,轮廓很低。肩章和抛光铝的效果装饰挡泥板和门。里面像一片阴影,既不是蓝色,也不是黑色。站在车门口的克拉克变得紧张起来。当他敲窗户时,她恼怒地摇晃着文件夹。她的丈夫没有站在加油泵旁边,也没有坐在狭窄候诊室的硬塑料椅子上。克拉克又敲了一下。文件夹仍然处于凸起状态。他说:“我会把你的车开到修理店去测试。但我需要你的同意。”“是的。”在抓住门把手之前,克拉克从工作服胸前的口袋里戴上了乳胶手套。当他打开门时,控制台发出信号并发出声音。当他把纸垫片放在座位和地板上时,她说:“我必须下车吗?”“没有。”那是四点二十分。旅行车整齐地停在车库里。那是今天的最后一辆车。他可以把检查时间延长到五点。克拉克在车站后面停下来抽烟。他蹲着,背靠着建筑物;他的工作服束在腰间,紧抓着膝盖。他又矮又瘦,头发剪得很短,留着棕色的乱胡子。他头顶上戴着一副偏光镜片的太阳镜。这个加油站隐藏在一长排桉树下,服务于奥斯特勒山谷和凯特尔城。一边是奥斯特勒山谷拥挤的商店,包括一家杂货店。然后,道路开始摇晃,向上进入树木繁茂的小山,红木和金合欢林中的房屋和教区学校。奥斯特勒山谷的窗户映照出延伸开来的平地——在加油站之外——支撑着凯特尔城。远处,雾气倾泻在长长的、单调的公寓楼上。在漆黑的柏油屋顶下,肉色的墙壁显得茶色。再近一点,公立学校也开始灰蒙蒙的了。邻近的环卫站还在阳光下。然后,一段四分之一英里的单车道公路在一片开阔的土地上分开,通往加油站,克拉克靠在后墙上。短暂的后场地铺满了桉树叶子,其中一些因洒出的润滑油或燃料而变黑。上面的树在风中显得柔软。他打开电脑,把嗅探器塞进排气管。他进了车,一只靴子落在地上。他转过身来:头发紧紧地贴在她的头上,灰色的眼睛,没有耳环,均匀地晒黑了的皮肤,膝盖和肘部都变黑了。他试图发动它。什么都没有。他检查了变速杆。他又试了一次。他取下钥匙,又重新装上。当他准备下车时,她笑了。“只有关上门,它才会启动。”克拉克的脸更红了,他觉得自己在强迫点火。他想象着她躺在他对面的浴缸里,她那光秃秃的身体,他慢慢地离开了,钥匙发出咔哒声的引擎卡住了。他一边发动引擎,一边转向她。他把加速器按下一半,电脑监控着排放水平,用电子报时器计时。“你丈夫呢?”“你的生意吗?”“你说得对。”“你的内心也许很可爱,”她严厉地说,用手指在自己脸上勾起了一圈浓密的胡须。有一个服务员在店里扫吸油沙的呼-呼声。克拉克在考勤卡上打卡,同时更新了他钱包里的收据。他穿着工作服,走到杂货店前,经过那里,进入了一个由四间小屋组成的建筑群,由砾石小径相连。伊丽莎不在身边。...
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引用次数: 0
Rocks on a Platter: Notes on Literature 盘子上的石头:文学笔记
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-10-01 DOI: 10.2307/25304789
Catherine L. Kasper, Barbara H Guest
Barbara Guest. Rocks on a Platter: Notes on Literature. Hanover, NH: University Press of New England, 1999. Rocks on a Platter contains some of Barbara Guest's most obscure and compelling lines since Defensive Rapture (1993). It has been interpreted by other reviewers as one long poem that examines the "implacable poet" as subject and vector in the process of creative production. While that may be the case, these poems are also literally "notes" on literature, as its subtitle suggests. The book can be seen as Guest's own jottings in response to her inspiring and eclectic research, with texts dissected and arranged to become poetic objects resonating as in a still-life painting. Guest was one of the central members of the New York School, though David Lehman (in The Last Avant-Garde) omits her in favor of an unnecessarily reductive, masculine view of the group. It could be argued that Guest's work, and perhaps Guest herself, is more radically individual, and less easily summarized. Canonical practices have typically excluded such writers in favor of more homogenous categorization. While this tendency has long been under critical scrutiny, the practice of dropping particularly influential, but often more clairvoyant poets from critical schema persists (see, for instance Alan Kaufman's omission of Edward Dorn and his connections to Black Mountain and the Beats from The Outlaw Bible of American Poetry). But what critics fail to recognize or like to forget is how different kinds of poets still speak to each other, still have friendships and discussions that are crucial to artistic germination whether or not they share the same aesthetics. The best poetry demonstrates this kind of complex engagement with different kinds of poetry and with a greater, interdisciplinary community. Most recently, Guest's work has been noted as one of the foundational influences for what could be considered a feminist "wing" of postL=A=N=G=U=A=G=E poets such as Kathleen Fraser, Brenda Hillman, Meimei Berssenbrugge, Lisa Jarnot, Juliana Spahr, and Jena Osman. Intrinsic to the New York School's poetics was a fundamental crossfertilization with the visual arts. Painters such as Motherwell, Freilicher, and Rivers were just a few of those whose work and ideas coalesced with those of the poets. Frank O'Hara worked at MOMA and Ashbery worked as an art critic, as did Guest. Her own work often achieves a kind of poetic equivalent to Abstract Expressionism, forcing the literary critic to work with the vocabulary of the art critic: abstraction replaces representation, patina replaces simple imagery, chiaroscuro, diction. Her poetry reveals a primacy of page as "canvas" that draws from modernist sources, yet achieves a texture which is distinctly postmodern in its absence of a central, controlling ego. That Guest is the artist of the collage on the cover of Rocks on a Platter confirms that her close relationship to the visual arts and to artists is one of the fertile resources of her w
芭芭拉客人。盘子上的石头:文学笔记。汉诺威,新罕布什尔州:新英格兰大学出版社,1999年。《盘上的岩石》包含了自1993年《防御性狂喜》(Defensive Rapture)以来芭芭拉·盖斯特最晦涩和最引人注目的台词。其他评论家将其解释为一首长诗,它将“不可调和的诗人”作为创作过程中的主体和载体进行了考察。虽然这可能是事实,但正如其副标题所暗示的那样,这些诗也确实是文学的“笔记”。这本书可以看作是盖斯特自己对她鼓舞人心和不拘一格的研究的回应,对文本进行了剖析和安排,成为诗意的对象,就像一幅静物画一样引起共鸣。Guest是纽约学派的核心成员之一,尽管David Lehman(在《最后的先锋派》中)省略了她,以一种不必要的简化,男性化的观点来看待这个群体。可以说,盖斯特的作品,或许还有盖斯特自己的作品,是更激进的个人作品,不太容易概括。规范实践通常会排除这样的作者,以支持更同质的分类。虽然这种倾向长期以来一直受到批评的审视,但将特别有影响力但往往更有洞察力的诗人从批评模式中剔除的做法仍然存在(例如,参见艾伦·考夫曼在《美国诗歌的非法圣经》中遗漏了爱德华·多恩及其与布莱克山和垮掉的一代的联系)。但是评论家们没有意识到或者是想要忘记的是,不同类型的诗人仍然会彼此交谈,仍然会有友谊和讨论,这对艺术的萌芽至关重要,无论他们是否拥有相同的美学。最好的诗歌展示了这种与不同类型的诗歌和更大的跨学科社区的复杂接触。最近,Guest的作品被认为是后l = a =N=G=U= a =G=E诗人的女权主义“翼”的基础影响之一,如Kathleen Fraser, Brenda Hillman, Meimei Berssenbrugge, Lisa Jarnot, Juliana Spahr和Jena Osman。纽约学派诗学的本质是与视觉艺术的基本交叉施肥。马瑟韦尔、弗莱利歇尔和里弗斯等画家的作品和思想与诗人的作品和思想融合在一起。弗兰克·奥哈拉在现代艺术博物馆工作,阿什伯里是一名艺术评论家,盖斯特也是。她自己的作品经常达到一种与抽象表现主义相对应的诗意,迫使文学评论家使用艺术评论家的词汇:抽象取代了表现,铜绿取代了简单的意象,明暗对比,措辞。她的诗歌揭示了页面作为“画布”的首要地位,从现代主义的来源中汲取灵感,但在缺乏中心、控制自我的情况下,实现了一种明显的后现代质感。Guest是《Rocks on a Platter》封面上拼贴画的艺术家,这证实了她与视觉艺术和艺术家的密切关系是她作品的丰富资源之一。拼贴画由几个微妙的纹理表面组成,几乎无法区分灰色、黑色、白色和米色的色调。拼贴画,就像诗歌一样,似乎是由影子、水和沙子组成的,就像纸一样。这里的位置就像沉重的岩石一样充满了意义。这个封面唤起了“自然”雕塑:自然“放置”在一个创造的表面上。《盘上的岩石》关注的是自然和自然世界,从“表象世界的浮物”到“潮湿的泥土”。从这些“笔记”中浮现出的一个愿景是,自然世界是元素和对象,是力量和“生命”,是有生命的和无生命的。陆地既是船的命运或征服,也是语言的极限,“地面”是地球和页面:这本书从地球含水的开端开始,“由/排版设定的梦想”就像一艘在浩瀚大海中的船。...
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引用次数: 0
Pine Box [Vamped] 松木箱[鞋面]
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-10-01 DOI: 10.2307/25304778
Ray Di Palma
I know where I'm going I just don't have the address. Here's the key. Take the car and drive to the end of the block. Do you want me to shoot someone or build you a house? Aromatic wood was burning in the cast iron brazier by the side of the pool. He ran in and out of the shadows for almost a mile then gave up and jumped on a bus. I feel like some music. Does the radio work? I'm going to smoke a cigarette. Never mind where we're going. Just keep your eyes on the road. They cut him good and deep. Just below the ribs on his left side. When he smiled a line of blood trickled out of the corner of his mouth. Behind the door a small audience was applauding the recitation of an old song. He ran his fingers through the thick blonde hair on the back of his head. Where was the melody? He didn't want to keep his friends waiting any longer. Thick smoke rises into the veil of lavender that lingers from the previous fire. A ghost and an angel define the shadows by dancing along the cracks in the ceiling. The tricks of the trade for the names of the streets. A failed substitution. Private details of a discarded world. I recognize the proof in the dissolve. Palimpsest- written between January 26th and March 16th. Letters: composed between March 16th and April 21 st. Codicil: translated with J. on April 25th. The 31 Sequels: begun on April 26th. Plan for Pond 4: translated with J. on April 30th. The complexity built from something more to add to the lion's mouth. [May 2nd] 1, 2,4,5, 6 ... they forgot Wednesday. But the calendar makers were shrewd. By also omitting the following Saturday the month realized its proper resolution. Two omissions = 1 heads blindly for 31. Made to be a loss and then another made right. Ptolemy, Copernicus, Kepler and Galileo. The gloom still clings to the approaching light that fills the missing days. The continuous. The metropolitan. The first letter to the second letter and on to the last letter. T to H. From H to T The days, weeks, months pass. T to H. From T to H. Second initiative, second front. Before the E eleven people are engulfed by the snow never to be seen again. You alone survive. Arriving here with me. Distikhos. Beeswing. Reverie is the second codicil and the fifth project. Died back into the provided page. Countenance shuffled. Pared away. Orogeny (the last word of the evening): a walk in the woods, a blank sheet of paper, swollen ankles, Mozart and a glass of wine. …
我知道我要去哪里,只是没有地址。这是钥匙。把车开到街区的尽头。你想让我开枪还是给你盖房子?池边的铸铁火盆里燃烧着芳香的木柴。他在阴影里跑进跑出,跑了将近一英里,然后放弃了,跳上了一辆公共汽车。我想听听音乐。收音机能用吗?我要抽根烟。不管我们要去哪里。眼睛盯着路就行。他们把他割得又深又好。就在左侧肋骨下方。当他微笑时,一缕血从他的嘴角滴了出来。门后有一小群听众在为朗诵一首老歌鼓掌。他用手指捋了捋后脑勺浓密的金发。旋律在哪里?他不想让他的朋友们再等下去了。浓烟袅袅升起,笼罩着上次大火留下的薰衣草气息。一个鬼魂和一个天使沿着天花板上的裂缝跳舞,形成了阴影。街道名称的交易技巧。替换失败。一个被抛弃的世界的私人细节。我在溶解中认出了证据。重写本——写于1月26日至3月16日之间。书信:写于3月16日至4月21日。附录:4月25日与j翻译。《31部续集》于4月26日上映。4号池计划:4月30日与j翻译。狮子嘴里的东西越来越复杂。[5月2日]1,2,4,5,6…他们忘了星期三。但是日历的制作者很精明。通过同样省略下一个星期六,这个月实现了适当的解决方案。2次遗漏= 1次盲目正面= 31次。先是亏本,然后又亏本。托勒密,哥白尼,开普勒和伽利略。黑暗仍然笼罩着即将来临的光明,它填补了错过的日子。连续。大都会。从第一个字母到第二个字母,一直到最后一个字母。从H到T,日子一天天过去,星期一天天过去,月一天天过去。从T到h,从T到h,第二个主动,第二个前线。之前十一个人都被雪吞没了,再也没见过。你独自生存。和我一起来到这里。Distikhos。Beeswing。《幻想》是第二个附录,也是第五个项目。死回提供的页面。脸上重新洗了一遍。缩减了。造山运动(晚上的最后一句话):在树林里散步,一张白纸,肿胀的脚踝,莫扎特和一杯酒。...
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引用次数: 0
Three Postcards from Turkiye 三张来自土耳其的明信片
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-10-01 DOI: 10.2307/25304781
J. Lowe
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引用次数: 0
Journeys to Six Lands 六境之旅
IF 0.1 3区 文学 Q4 Arts and Humanities Pub Date : 2001-10-01 DOI: 10.2307/25304762
H. Mathews
1 Out of droning Bayonne at five, sun silhouetting a Buddha on the city's one shrine. We had fashioned a mast for our hull from a stout pine that we felled and lopped in the dark, amid much blasphemy. By lantern light we saw what some nimble climber had long ago carved in its fork, "I before he except after she"-weird words leading to argument over what they might portend. Once the mast was stepped and braced with stays, we raised our sails with halyards we had braided out of rawhide. There is a tear in the leech of our mainsail. We glided down the river between zones of industrial waste. Only a few indifferent gulls watched us leave. It is after all a poor, deserted place. Tiers of mussels ringed the pilings of abandoned wharves in the lowering tide. There is an inexplicable tear in the leech of the mainsail. We were bound for home-a home that we had forgotten or never seen. 2 Standing away north from the coast, the wind sitting east-northeast, a harsh quarter-we could do nothing but drive, scudding away as we bore against it, mast sloping, bow dipping. We had no true officers but encouraged each other to stand to the tackle, stretch on the oars, contract the luffing sails, everything a struggle, with the sea swirling and hawling inboard, in a shrilling of stays and halyards. We forgot the new old world we longed for. We had taken a priest named Dory on board; he now passed among us, intoning the opening words of the fifty-first psalm and raising crossed sticks over each of us as he did so in a kind of infernal blessing. Such a handsome man, young, light-hearted, not a drowning mark on him, master of men and of women, too! He was to enrapture all our loveliest in turn. Even now, in those endragoned seas, he took Dominique into the dark below the leaking cabin decking. At one moment the waves rose from such a depth I saw the floor of the sea: lobsters five feet long and scurrying crabs with glowing eyes. Later, the sky seemed boundless, full of fierce stars. 3 We drifted into a stinking fog, thick with what felt like soot. The killersqualls had passed on-one man and a boy washed overboard. The mainsail was tattered; half the snap hooks on the jib would not close; all our circuits were broken. The sails for now were of no use anyway: not a breath of wind. We worked hard at our oars though with heavy hearts, like men going to execution. (It seems our sweat made the ladies hot-it was Gloria's impatient turn with Dory today.) The water felt thick with ooze, with something like clay. We dreaded running aground in the dark. Next to the steersman, whose face gleamed white by his lamp, a woman sat holding a frond wetted with vinegar, to slap him in case he nodded off. I looked up once and there stood the cook in his greasy girdle, not a sign of care on his filthy-bearded face as he shucked a bucket of mussels, tossing shells over our heads into the sad water. The place and time of our embarcation were already beyond any wish to remember them. 4 Was there
5点钟,从嗡嗡作响的巴约讷(Bayonne)出发,太阳映照出了这座城市唯一一座神龛上佛像的剪影。我们用一棵粗壮的松树做了一根船身的桅杆,这棵松树是我们在黑暗中,在一片亵渎声中砍下来的。借着灯笼的光亮,我们看到了很久以前某个灵巧的攀登者在叉子上刻的字:“我在他之前,而在她之后”——这些奇怪的字引起了人们对它们可能预示着什么的争论。桅杆一竖起来,用索撑起来,我们就用生牛皮编成的半桅索把帆升起来。我们的主帆上有个裂口。我们在工业废料区之间顺流而下。只有几只漠不关心的海鸥看着我们离开。这毕竟是一个贫穷、荒凉的地方。退潮时,一层层的贻贝环绕着废弃码头的桩子。主帆的水蛭上有一道无法解释的裂口。我们要回家了——一个我们已经忘记或从未见过的家。我们站在远离海岸的北方,风向是东北偏东,是一个恶劣的四分之一——我们什么也不能做,只能逆风疾驰,桅杆倾斜,船头倾斜。我们没有真正的舵手,只是互相鼓励,站在那里,撑住桨,收紧变幅的帆,一切都是一场斗争,大海在旋转,在船舷内呼啸,在索索和吊索的尖叫声中摇摆。我们忘记了我们所渴望的新世界。我们带了一个名叫多莉的牧师上船;这时,他从我们中间走过,吟诵第五十一届圣诗的开头几句,并在我们每个人的头上举起交叉的木棍,仿佛在向我们表示一种地狱般的祝福。这样一个英俊的人,年轻,轻松愉快,没有什么沉重的负担,而且是男人和女人的主人!他要依次使我们所有最可爱的人欣喜若狂。即使是现在,在这波涛汹涌的海面上,他还是把多米尼克带进了漏水的船舱甲板下面的黑暗中。有一次,海浪从这么深的地方涌上来,我看见了海底,有五英尺长的龙虾和眼睛发光的螃蟹在游动。后来,天空似乎无边无际,布满了凶狠的星星。我们飘进了一团臭气熏天的雾中,感觉像是厚厚的烟灰。杀人的狂风已经过去了——一个男人和一个男孩被冲到海里。主帆已经破烂不堪;三角帆上的扣钩有一半扣不上;我们所有的电路都坏了。反正现在帆也没用了,一点风也没有。我们拼命划桨,虽然心情沉重,就像行刑的人一样。(看来我们的汗水让女士们热了起来——今天轮到格洛丽亚对多莉不耐烦了。)水里有一种粘稠的软泥,有点像粘土。我们害怕在黑暗中搁浅。舵手的脸在他的灯下闪着白光,在他旁边坐着一个女人,手里拿着一个被醋浸湿的叶子,以防他打瞌睡。有一次我抬头一看,只见厨师穿着油腻腻的腰带站在那里,满脸胡须的肮脏脸上没有一丝关心的表情,他摇着一桶贻贝,把贻贝从我们头上扔进悲伤的水里。我们登船的地点和时间已经想不起来了。雾中有嗡嗡声吗?气味变得更糟了。由于担心溅起的水有毒,一些划手不顾炎热,把身体和灵魂捆绑在一起。我们来到了安静、汹涌的漩涡中,突然出现了一大片夜间飞行的白色飞蛾:附近有陆地吗?“如果是这样的话,”有人说,“那一定是太阳后面的那块土地。”黑暗中出现了一个码头,从一英亩贫瘠的土地上伸出来。在最高处,有三个人影在恳求上船。多莉和费思,他这一天的同伴,每人用一根手指缠在头发里,帮助他们渡过船舷。当我们继续划着的时候(先是螺旋桨被卡住了,现在是油门缆绳被卡住了),我们感到有个坚固的东西在阻碍我们前进。有人认出了我们失踪男孩的尸体。当我们俯身去救他的时候,厨子边说边啃着一盘鹅肺,断然说他不让他上船。他捡起一根废弃的桨,把他推到水下,因为他的衣服因为喝了酒而变得很沉。...
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引用次数: 0
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CHICAGO REVIEW
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