{"title":"华莱士·史蒂文斯与马丁·海德格尔:诗歌作为一种占有性接近(评论)","authors":"Krzysztof Ziarek","doi":"10.1353/wsj.2023.0014","DOIUrl":null,"url":null,"abstract":"Goldfarb engage these problems from an original direction via a provocative comment from Stevens: “Personally, I like words to sound wrong” (L 340). Stevens’s preference is observed in lines that are simultaneously stunning and challenging to pronounce, such as the conclusion of the opening stanza of “The Plain Sense of Things”: “Inanimate in an inert savoir” (CPP 428). Eeckhout and Goldfarb subtly reveal the sonic complexity of that line and present it as characteristic of “a poet who actively foregoes the satisfaction of harmonic arrival” (72). The co-authors cite Theodor Adorno’s essay “Music, Language, and Composition” as a guide to their approach to Stevens. Music and language, Adorno writes, both entail “a temporal succession of articulated sounds that are more than just sound” (qtd. on 3), which is to say, sounds organized in non-arbitrary, expressive ways. “Applying such principles to our readings of Stevens’s poems,” Eeckhout and Goldfarb write, “helps to accentuate the musicality intrinsic to them” (4). The term “musicality” is helpful here. It indicates an aesthetic property which music models but of which music is not the only example. Maybe, if we follow Eeckhout and Goldfarb’s investigations, and experiment with the uses of terms like melody for literary criticism, we can begin to describe “poetic music” as the particular kind of music it is.","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"47 1","pages":"117 - 121"},"PeriodicalIF":0.1000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Wallace Stevens and Martin Heidegger: Poetry as Appropriative Proximity by Ian Tan (review)\",\"authors\":\"Krzysztof Ziarek\",\"doi\":\"10.1353/wsj.2023.0014\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Goldfarb engage these problems from an original direction via a provocative comment from Stevens: “Personally, I like words to sound wrong” (L 340). Stevens’s preference is observed in lines that are simultaneously stunning and challenging to pronounce, such as the conclusion of the opening stanza of “The Plain Sense of Things”: “Inanimate in an inert savoir” (CPP 428). Eeckhout and Goldfarb subtly reveal the sonic complexity of that line and present it as characteristic of “a poet who actively foregoes the satisfaction of harmonic arrival” (72). The co-authors cite Theodor Adorno’s essay “Music, Language, and Composition” as a guide to their approach to Stevens. Music and language, Adorno writes, both entail “a temporal succession of articulated sounds that are more than just sound” (qtd. on 3), which is to say, sounds organized in non-arbitrary, expressive ways. “Applying such principles to our readings of Stevens’s poems,” Eeckhout and Goldfarb write, “helps to accentuate the musicality intrinsic to them” (4). The term “musicality” is helpful here. It indicates an aesthetic property which music models but of which music is not the only example. Maybe, if we follow Eeckhout and Goldfarb’s investigations, and experiment with the uses of terms like melody for literary criticism, we can begin to describe “poetic music” as the particular kind of music it is.\",\"PeriodicalId\":40622,\"journal\":{\"name\":\"WALLACE STEVENS JOURNAL\",\"volume\":\"47 1\",\"pages\":\"117 - 121\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2023-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"WALLACE STEVENS JOURNAL\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/wsj.2023.0014\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"POETRY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"WALLACE STEVENS JOURNAL","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/wsj.2023.0014","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"POETRY","Score":null,"Total":0}
引用次数: 0
摘要
戈德法布通过史蒂文斯的一句挑衅性评论,从一个原创的方向着手解决这些问题:“就我个人而言,我喜欢单词听起来是错误的”(L 340)。史蒂文斯的偏好体现在那些既令人震惊又难以发音的诗句中,比如《事物的浅显感觉》(the Plain Sense of Things)开篇的结语:“在一种惰性的savoir中无生命”(CPP 428)。Eeckhout和Goldfarb巧妙地揭示了这句诗的声音复杂性,并将其呈现为“一个主动放弃和声到达满足感的诗人”的特征(72)。合著者引用了西奥多·阿多诺的文章《音乐、语言和作曲》作为他们研究史蒂文斯的指南。阿多诺写道,音乐和语言都需要“一种不只是声音的清晰声音的时间序列”。3),也就是说,以非任意的、表达的方式组织起来的声音。埃克豪特和戈德法布写道:“将这些原则应用到我们对史蒂文斯诗歌的阅读中,有助于强调这些诗歌内在的音乐性。”在这里,“音乐性”一词很有帮助。它表明了一种审美属性,音乐是它的模型,但音乐并不是唯一的例子。也许,如果我们遵循埃克豪特和戈德法布的研究,并尝试使用像旋律这样的术语来进行文学批评,我们就可以开始将“诗意音乐”描述为一种特殊的音乐。
Wallace Stevens and Martin Heidegger: Poetry as Appropriative Proximity by Ian Tan (review)
Goldfarb engage these problems from an original direction via a provocative comment from Stevens: “Personally, I like words to sound wrong” (L 340). Stevens’s preference is observed in lines that are simultaneously stunning and challenging to pronounce, such as the conclusion of the opening stanza of “The Plain Sense of Things”: “Inanimate in an inert savoir” (CPP 428). Eeckhout and Goldfarb subtly reveal the sonic complexity of that line and present it as characteristic of “a poet who actively foregoes the satisfaction of harmonic arrival” (72). The co-authors cite Theodor Adorno’s essay “Music, Language, and Composition” as a guide to their approach to Stevens. Music and language, Adorno writes, both entail “a temporal succession of articulated sounds that are more than just sound” (qtd. on 3), which is to say, sounds organized in non-arbitrary, expressive ways. “Applying such principles to our readings of Stevens’s poems,” Eeckhout and Goldfarb write, “helps to accentuate the musicality intrinsic to them” (4). The term “musicality” is helpful here. It indicates an aesthetic property which music models but of which music is not the only example. Maybe, if we follow Eeckhout and Goldfarb’s investigations, and experiment with the uses of terms like melody for literary criticism, we can begin to describe “poetic music” as the particular kind of music it is.