A Stylistic Analysis of William Blake’s Poem
“The Tyger”
Abstract: William Blake’s The Tyger is considered one of his best poems for its marvelous use of illusion and symbols and its musical beauty. In the thesis, the author attempts to make a stylistic analysis of this poem, and the analyses will focus on the phonological, graphological, lexical, syntactical and semantical levels of the poem.
Key words: William Blake; the Tyger; stylistic
Introduction
William Blake, poet, painter, and visionary, was considered by many one the forerunners of British Romanticism, whose most poems are concerned with creation and full of romantic elements. Among his works, Songs of Innocence and Songs of Experience are two famous ones. The Tyger, one poem in Songs of Experience, has been described by one critic as Blake’s most fully developed art --- a process using small revelations leading to greater discoveries through profound use of symbol.
Born into a time when the society was experiencing great changes---the Industrial Revolution, Blake was amazed and astonished the creation as well as the destruction the power of the revolution can bring. In this poem, by bringing forth the central image the tiger and describe both the tiger and the creation of the tiger, Blake poses many questions without answering them, leaving the readers to think.
In order to get his ideas across, Blake uses many unique techniques in this poem to get the effect of foregrounding if considered under the term of stylistics. So in the following part of the thesis, we will deal with the stylistic features in details at four levels: phonological, graphological, lexical and semantic respectively.
I. At the Phonological Level
Meter
In this poem, William Blake adopted the trochaic tetrameter in the whole poem so as to imitate the sound in a forge and set the dignified and stately tone for the whole poem:
_V_V_V_
_V_V_V_
_V_V_V_
_V_V_V_
By deliberately making the stress sounds fall into the more important words, Blake expresses the power and strength of the tiger, and adds to the musical beauty
when reading it.
Rhyme
The rhythmical sounds in this poem is achieved by the use of regular end rhymes,which is presented by the rhyme pattern aabb ccdd eeff gghh iijj aabb, and such figures of speech as alliteration and repetition.
Every two lines have the same end rhyme(bright/night, eye/symmetry,
skies/eyes ) and most of the rhymes are masculine rhymes(bright/night, art/heart,
see/thee), which strengthen the image of the tiger with an overwhelming momentum; repetition is used for the subject discussed(Tyger! Tyger ) and also the first stanza and the last one are identical so that readers can feel the power of the beast from the very beginning; Blake also employs alliteration abundantly(burning bright, what wings, distant deeps, began to beat, dare its deadly terror clasp, frame thy fearful symmetry ), among which many stops such as /b/ /d/ /t/ /p/ are used to imitate the sound of the hammer, thus paint a vivid image in front of the reader of the making of the tiger, also give them a hint of the destructive force of the beast.
II. At the Graphological Level
Format
The whole poem contains six stanzas and each stanze is a quatrain, adding that the first stanza and the last one are identical, so the poem has a beauty of uniformity in the term of the form. Also the repetition of the stanzas makes the theme profound. Punctuation
Through the unconventional use of punctuation, particularly the question mark, Blake in this poem uses twelve whats(what dread hand? And what dread feet? ) to pose questions to create an atmosphere of mystery, giving the image of the tiger a mysterious and religious color. The exclamations used to address the tiger(Tyger! Tyger! ) help to emphasize the urgency of the question.
Capitalization
In the whole poem, except the first word of each line and the beginning of a sentence, there is still one word capitalized(Lamb in line 20 ), which probably is the intertextuality with Blake’s another poet The Lamb. By the contrast between the tiger and the lamb, Blake emphasizes the strength and the dark power of the former, also by pointing out that both the powerful tiger and the weak lamb are created by the some God, Blake expresses the divine power of the Creator.
III.At the Lexical Level
Poetic and archaic words
Many poetic words are employed by Blake to make the poem elegant and poetic(deeps, aspire, art, symmetry), also the words some times are chosen according to the end rhyme.Archaic words can be found in the poem(tyger/tiger, dread/dreadful, thy/your,thine/yours, thee/you ).
Short and powerful words
Words to show strength and speed (frame, aspire, seize, clasp, make,
twist) ,words to show the process of making the tiger (hammer, chain, furnace, anvil) and words to describe the fire (fire, bright, burn) are used not only to express the power of the tiger but also to create the scene of making the tiger so as to emphasize the even greater power of the Creator.
I V. At the Semantic Level
Symbolism
Some words in this poem bore symbolic meanings. The tiger (the central image in the poem) is considered by many as representing the dark shadow of the human soul. This is the beastly part of ourselves that we would prefer to keep only in our dreams at night. Night(line 2 ) in Blake's poetry often seems to suggest this sort of dream time. The forests(line 2 ) might represent the wild landscape of our imagination under the influence of this beast. The heart (line 10) represents not only the biological engine of the tiger, but perhaps its passion for living.
Allusion
Blake also employs allusion in this poem since it is somewhat concerned with religion. For example, on what wings dare he aspire (line 7 ) is an allusion from Milton’s Paradise Lost;seize the fire ( line 8) could be a possible reference to Prometheus; and when the stars threw down their spears, and water’d heaven with their tears( lines 17 and 18) is an allusion to Satan and his angels and also to the God of Old Testament. It could be debated that Blake argues here that the Fallen Archangel Lucifer is the creator of the tiger, or the beastly part of our own nature. The abundant use of allusion adds to the ambiguity of the poem, thus leads to many versions of interpretation of this poem.
Conclusion
In this thesis, we have given a careful analysis to William Blake’s The Tyger from the stylistic perspective. First, by giving an elaborate account of the phonological characteristics of the poem, we are able to get a more comprehensive understanding of the role the sound patterns played in a poem and the stately momentum created by the use of certain phonological devices such as the use of archaic tetrameter, alliteration and repetition. Then, we have looked into the
graphological features of this poem so that we have got a better understanding of the theme. Next,through the continuous analysis of the diction of the poem, we are able to get a clear picture of the careful and deliberate choice of the short and powerful words that described the tiger and the creating of the tiger, which helped to highlight the idea the poet wants to convey, that is, the tiger has fury and grounds to believe in its own strength and it could be understood as similar to our psychological view of the ego which is the part of us that believes in its own power, in its own vision, and the creator of this powerful creature is awesome in its own right. Finally, we have analyzed the semantic characteristics, which mainly concern with the figures of speech the poem employed, which, in this case, is symbolism and allusion particularly.
After this stylistic study of William Blake’s The Tyger, we are able to have a more comprehensive understanding both this poem and the importance of stylistics in analyzing and appreciating poems.
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保持骨骼轻盈：美国后现代诗歌概观 马永波 试着译一些英诗已有些年头，起初是由于对语言的兴趣，也是为了给自己的写作提供点儿新鲜的材料和视野，而我之对后现代主义诗歌感兴趣，大抵始于三年之前，那时“后现代”这一术语已渐渐流行、时髦起来，为广大诗人、批评家、社会学家所频繁使用，加之有些国内诗人纷纷自封为中国的“后现代”诗歌创始人，这一切都促使我产生了弄明白真正“原装”后现代主义诗歌的本来面目的想法。 依专家所言，后现代主义思潮起源于北美洲的文学批评，在六十年代，它几乎成了一个单单发生在美国的事件。其后，后现代主义的概念扩大到整个欧美大陆。所以，集中考察一下美国的后现代主义诗歌，则可以较为便捷地得到一个关于后现代思潮的典型景观。 当代的美国诗歌，较五十年代以前，已经发生了根本性的转变，变得更重现实细节，更有地域色彩，更具体。这些转变与二战后美国对越南的侵略战争加诸人们意识上的影响有关，而现代科技，尤其宇航技术的发展，也给予了人们新的刺激，迫使人们以新的时空观念重新认识、估念人类在宇宙秩序中及个人在社会中的位置。美国当代诗歌在经历了第一次大战前夕，由庞德倡导的“意像派”所代表的童年期，第一次世界大战到第二次世界大战之间，以艾略特为代表的鼎盛时期，已经进入它开阔的中年。二十世纪早期生活中所特有的种种剧烈的脱节，经济、政治、社会制度的土崩瓦解，现代人的自我与其种族历史的加速分离和异化，都已记录在艾略特的《荒原》、史蒂文斯的《风琴》等诗集里面。更年青的诗人已不满于艾略特式学院气的沉思和玄想，而是要更深入到人们的日常生活中去解剖真实，逃避个性的“非个人化”原则已被更深的沉入诗人的自我所代替。哲学也不再作为完整的认识世界的框架，而是分散在具体的现实感受之后，与生活结合得更紧密了。 这种转变的开始，则是始于一位艾略特的同时代者威廉．卡洛斯．威廉斯，一位儿科医生，同时也是一位抱负远大的诗人。和许多去英国取经的诗人，如庞德、艾略特不同，威廉斯一辈子生活在新泽西州的路特福德，也许，作为一个英国人的儿子，他比大多数美国诗人都更强烈地意识到去除英国诗歌的所有特征的必要性。艾略特对传统英诗格律的继承，对荷马以来整个欧洲文学传统的珍视，以及他阴郁的学院气质，都使得威廉斯认为《荒原》是对自由诗运动的背叛，是美国诗歌的一个灾难，一个误会。他决心抓住工业化美国的实质，从形式上、内容上发展一种美国自己的新诗。1946年，威廉斯苦心经营的五卷本巨著《佩特森》第一卷问世，这部富于地域乡土色彩的史诗性作品，将自我与广袤美国融为一体，显
打工打油诗大集合 一、酒店打工诗 美丽酒店我的家，工资永远没得加。火 食真是差差差，天天青菜炒黄瓜。无油 无盐又多沙，最惨就是猪油渣。夜夜加 班精神差，累到半夜想爸妈。打工生活 真不好，菜里可以吃出草。汤里苍蝇在 洗澡，桌上蚂蚁在赛跑。菜里本来油盐 少，脚下又有蚊子咬。没有一餐吃得饱， 哎…真是命苦啊！爱空空、情空空，自己 生活在大连。卡没钱、兜没钱，单身苦命 在打工。手机空、找钱充，生活所逼无阴 公天天上班愁更愁老板说话没理由我们 做得像梦游天天批评眼泪流 二、打工诗 领活的、打号的，出了毛病胡闹的；推刀 的、画皮的，一天到晚挨呲的；蹬车的、 质检的，没事总爱翻脸的；管事的、机修 的，闲着没事泡妞的；打节的、锁眼的， 一天到晚熬点的；锁钉的、点纤的，待着 没事伺鞭的；封箱的、装袋的，三天两头 夜战的；放活的、放料的，出了乱子上吊 的；车间的、后道的，日久生情放炮的； 看门的、扫地的，内容是他们创意的 三、《古诗版打工诗》床前明月 光、没钱憋得慌，举头望明月、低头空悲 伤锄禾日当午、赚钱真辛苦，随手把包 翻、只有二百五白日依山尽、花钱似海 流，攮中无一物、急得欲跳楼离离原上 草、加班到明早，今日努力干、明天更灿 烂 四、厨师打工诗远看塘沽像天堂近看塘 沽像香港来到塘沽包厨房噩梦从此拉开 场口号喊的震天响工资就是不见涨还说 厨房伙食好青菜里面吃出草加班加点不 加薪天天熬夜瘦像猴见了老板低头走到 了月底就发愁一个星期就是七天想歇半 天都是妄想我**亲妈都不爽这样下去必 然得亡 早飞早走早解脱从此江湖任你闯！
五、打工诗工厂版 美丽工厂我的家，工资永远没得加。 火食真是差差差，天天青菜炒黄瓜。 无油无盐又多沙，最惨就是猪油渣。 六、打工诗外面打工很辛苦，心里感觉 无归属，成天满身是尘土，见到领导像 见虎。外面打工好无奈，哪有在家那自 在，虽说一天百十块，寄人篱下不痛 快。 六、打工诗挖掘机版 擦过车，打过油。风雪半夜换过头! 走过 南，闯过北。为学沟机跑断腿! 破地粱，扣地沟。大山悬崖破石头! 违过 法，帮过人。救车开山毁森林! 修高速，铺 铁路。坟营地里和鬼住! 拆过桥，放过楼。 感谢佛主把命留! 好车主，坏老板。为了工 资陪笑脸! 挣俩钱，挺不易。感谢身边好兄 弟! 七、打工诗服装厂版 举头是灯光，低头是服装。又苦又是累， 还是不能睡。衣服没做好，大家别想跑。 衣服没做光，心里直发慌。心慌手就乱， 手扎稀巴烂。手指受了伤，在疼也得装。 日子过得累，何时才能睡。抬头望望天， 老板在身边。低头望望地，老板发脾气。 一天做到头，赚钱还是愁。一天做到晚， 还要被人管。天天都很累，不能打瞌睡。 时间快点过，来年好再做。一把鼻涕一把 泪，做服装英勇无畏。 为了生活吃苦受累，机台前后终日疲惫。 为了出货通宵陪睡，瞌气连天不敢叫累。 日不能息夜不能寐，屁大点事反复开会。 劳动法则统统作废，身心憔悴不能流泪。 不敢奢望社会地位，全靠傻傻自我陶醉。 逢年过节家人难会，抛家舍业愧对长辈。 借此机会互相安慰，喜怒哀乐共同体会。
I.Multiple Choice 1.To commerate the death of his young wife, __________wrote the poem Annabel Lee. a. D.H. Lawrence b. John Milton c. Philip Phreneau d. Edgar Allan Poe 2. In Leisure, ____________ thinks that it is a poor life if “we have no time to stand and stare” a. John Keats b. William Henry Davies c. Alexander Pope d. John Donne 3.. In Amy Lowell’s Falling Snow, the poet says that “When the temple bell rings again/ they will be covered and gone”. “They” here refers to ______ a. the wooden clogs b. footprints c. the pilgrims d. none of the above 4. The “busy archer”in Philip Sydney’s To the Moon refers to____ a. the poet himself b. Cupid c. a comrade-in-arms of the poet d. none of the above 5. “Act____act in the glorious present”is perphaps the most soul-stirring line in _________’s poem A Psalm of Life. a. Henry Wadsworth Longfellow b. Percy Bissy Shelly c. Walt Whitman d. Carl Sandburg 6. In Song of the Rain, _________ paints a rosy picture of happy family life where the poet is “Safe in the House with my boyhood love/ And our children are asleep in the attic above”. a. Kenneth Mackenzie b. Carl Sandburg c. Hugh MacCrae d. Jerard Manley Hopkins 7. “Day brought back my night”is a well-praised phrase from __________’s On His Deceased Wife. a. Edgar Allan Poe b. Robert Frost c. John Milton d. Philip Sydney 8. In James Shirley’s poem Death the Leveller, the word “leveller” means a. something that reduces everything to nothing b. something that brings equality to all c. something that levels the ground d. none of the abov e. 9. What does “Fire” in Robert Frost’s poem Fire and Ice symbolize? a. war b. anger c. love d. desire 10. In John Keat’s poem The Terror of Death, the phrase “unreflecting love” means a. love without calculation b. love without preparation c. love never thought of d. love involving many considerations II.Blank Filling 1.One word is too often ________, For me to ________ it One feeling is too ______distained, For ______ to distain it .
漂泊、疼痛与抗争——新世纪“打工诗歌”主题浅析-大学 语文论文 漂泊、疼痛与抗争——新世纪“打工诗歌”主题浅析 胡依词 摘要：新世纪以来，“打工诗歌”逐步发展壮大起来，开始从边缘化状态进入主流诗坛。“打工诗歌”是以进城农民工为主体的打工者用自己的生命、血泪书写的最贴近底层、最真实、最具有时代特征的诗歌，它是新世纪以来打工者的精神写照。其中漂泊、疼痛与抗争是近十年来打工诗歌中不可缺少的主题，真切地反映了打工群体的生存状态和精神诉求。 关键词：打工诗歌漂泊疼痛抗争 新世纪以来，在主流诗坛“问题”重重状态下，“打工诗歌”异军突起，打破了某些主流诗歌追求形式、精神匮乏的藩篱，逐步发展壮大起来，为新诗的发展注入了新鲜的血液。 “打工诗歌”是中国底层文学中不可缺少的一部分，是以进城农民工为主体的打工者以其亲身经历为素材，在打工生活中创作出来的切实反映打工群体的生存状态和精神诉求的诗歌。打工者们远离家乡进入城市，丧失了话语权，但他们选择了用诗歌的名义来直面现实，述说漂泊他乡的艰难历程，缓解底层生活的疼痛，抗争命运的不公，以此来引起社会的关注，改变这个群体的苦难命运。为了达到这样的诉求，漂泊、疼痛和抗争便不可避免地成为新世纪以来“打工诗歌”写作中不可或缺的主题。这里，仅就“打工诗歌”的这三个主题做一些初步探讨。 一、漂泊 漂泊是“打工诗歌”必然的主题，“打工诗歌”是打工者漂泊的实录。
当现代化浪潮席卷中国的时候，打工诗人们，怀揣着希望与梦想从家乡出发，前往他们心中那预示美好生活的城市寻梦。为了改变自己的生活和命运，他们千方百计地进入城市，但一旦到达了城市，却又是一场流浪漂泊的开始。正如子虚《有谁知道车票的故乡》中写到“车票的前程叫做漂泊/车票的一生/背井离乡/谁与车票一起上路/谁像早年的病根/离幸福还有三十三斤草药/梦中的一痛是汽笛一声/车票离开叫做站的亲娘……”就这样，千千万万的打工者们离开家乡，告别乡亲，踏上漂泊之途。 初到城市的打工诗人们，由于户籍制度的限制，没有城市公民的正式身份，无法享受城市公民的社会待遇，再加上被城市当做异己者来排斥和歧视，这样的生存现实使他们很快认识到自己只是这个城市的所谓的“异乡人”，无根的他们仿佛浮萍般漂泊至此。此时打工的城市对于他们来说只是漂泊路途中的暂时停靠点。他们缺少归属感，多了生理和心理的不适应感，开始恐惧和担忧。黄品功的《面试》“打工的日子/常如游击队的故事/东奔西跑”，江雪《风中的种子》“我是一颗风中的种子/我就这样在风中飘来飘去/我没有却又处处为家”均写到了这一飘荡游离的生存状态，打工者们进入了城市，却无法融入其中，只能独自品尝着这漂泊的痛苦与艰辛。 紧接着，在试图融入异乡的过程中，择业的艰辛，工作环境的恶劣，主管的压榨，城市公民尖锐的有色眼光，使打工诗人们切实体验到生存之痛和心灵之伤，这种伤痛更是大大加深了他们作为异乡人的漂泊感。李长空《流浪的感觉》“如一叶/疲惫的舟/在异乡的/海洋里/找不到/驻足的港湾”，表现出了打工者漂泊于异乡的无助与彷徨，仿佛在茫茫大海中孤舟流浪。许强《为几千万打工者立碑》“南方啊，我们多想敞开真诚的胸怀把你拥抱/但为什么我们总是如覆薄冰若踩
Hamlet is the first work of literature to look squarely at the stupidity, falsity and sham of everyday life, without laughing and without easy answers. In a world where things are not as they seem, Hamlet…s genuineness, thoughtfulness, and sincerity make him special. Hamlet is no saint. But unlike most of the other characters (and most people today), Hamlet chooses not to compromise with evil. Dying, Hamlet reaffirms the tragic dignity of a basically decent person in a bad world Hamlet is the first work of literature to show an ordinary person looking at the futility and wrongs in life, asking the toughest questions and coming up with honest semi-answers like most people do today. Unlike so much of popular culture today, "Hamlet" leaves us with the message that life is indeed worth living, even by imperfect people in an imperfect world. 犹豫scholars have debated for centuries about Hamlet's hesitation in killing his uncle. Some see it as a plot device to prolong the action, and others see it as the result of pressure exerted by the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge and thwarted desire. More recently, psychoanalytic critics have examined Hamlet's unconscious desires (Freud concludes that Hamlet has an "Oedipal desire for his mother and the subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do". Robinson Crusoe is a grand hero in westerners? eyes. He survived in the deserted island and lived a meaningful life. He almost has everything needed for becoming a successful man, such as his excellent creativity, great working capacity, courage, and persistence in overcoming obstacles. But he has shortcomings, too. Sometimes he was irresolute; he was not confident; he was fetishistic, although his belief had done him much good. He serves somehow as a lighthouse for the ambitious people. It?s also instructive for average people. Robinson was the representative of the bourgeois of the 18th C. It was the time when bourgeois grew stronger and stronger. The author Defoe paid a tribute to bourgeois by creating such a rational, powerful, clever, and successful man. 【Themes of Robinson Crusoe】 1. The ambivalence of mastery In short, while Crusoe seems praiseworthy in mastering his fate by overcoming his obstacles, and controlling his environment, the praiseworthiness of his mastery over his fellow human Friday is more doubtful. Defoe explores the link between the two in his depiction of the colonial mind. 2. The necessity of Repentance Crusoe?s experiences constitute not simply an adventure story in which thrilling things happen, but also a moral tale illustrating the right and wrong ways to live one?s life. Crusoe?s story instruct s others in God?s wisdom, and one vital part of this wisdom is the importance of repenting one?s sins. 3. The Importance of Self-Awareness Crusoe?s arrival on the island does not make him revert to a brute existence and he remains conscious of himself at all times. His island existence actually deepens his self-awareness as he withdraws from the external society and turns inward. The idea that the individual must keep a careful reckoning of the state of his own soul is a key point in the Presbyterian doctrine that the aothor took seriously all his life. ·Jane Eyre Charlotte Bronte The protagonist and title character, orphaned as a baby. She is a plain-featured, small and reserved but talented, sympathetic, hard-working, honest and passionate girl. Skilled at studying, drawing, and teaching, she works as a governess at Thornfield Hall and falls in love with her wealthy employer, Edward Rochester. But her strong sense of conscience does not permit her to become his mistress, and she does not return to him until his insane wife is dead and she herself has come into an inheritance. 【Themes of Jane Eyre】 1. Gender relations A particularly important theme in the novel is patriarchalism and Jane…s efforts to assert her own identity within male-dominated society. Among the three of the main male characters,
“思在物中” ———从现象学角度看威廉斯客体派诗歌 武新玉 内容提要 本文结合现象学理论,从创作主题、语言和形式等方面探讨威廉斯客体派诗歌的意义,认为威廉斯诗歌的美学思想“思在物 中”使诗歌摆脱了“思”的束缚,更加客观具体地走向了日常生活。 关键词 威廉斯 客体派 思在物中 现象学直观 威廉?卡洛斯?威廉斯(W illia m Carl os W illia m s,1883-1963)是20世纪美国最卓越的诗人之一,同时也是美国意象派诗歌的主要开拓者。1928年3月与刘易斯?朱可夫斯基(Louis Zukofsky)的结识,让威廉斯更多地从“意象”转向了“客体”,并在30年代投身于客体主义(Objectivis m)运动,致力于客体派理论和诗歌创作的探讨和实验。 威廉斯对自己的客体派诗学有过这样的解释:“我用这个词是因为我有一个很简单的想法,人生活在世界上,与世界同在,你感觉到它们,想到它们,那是首要的事。”①威廉斯认为诗人的灵感和想象力必须源于现实世界,因为现实世界是一切艺术的基础和源泉,它本身就充满诗意。他还主张诗歌必须使用普通人的鲜活语言及韵律来表现日常生活,要清新明朗,剥去一切虚饰,通过具体的事物进行艺术构思和表情达意。威廉斯客体派诗歌理论的核心强调从形而上学的纯粹思想走向现实世界中活生生的存在,而这恰是现代西方现象学的一个突出特点 ①张子清:《二十世纪美国诗歌史》,长春:吉林教育出版社,1995年,第149页。
———海德格尔就曾经将现象学的座右铭定为“走向事物本身”。 ①一、诗之主题:走向生活本身 威廉斯的诗歌关注美国人独特的生活,他所描写的无论是树木、花朵、穷人、病人、城市等,都是简单而质朴的生活世界里的人和物。他立足本土,认为现代诗人应该从现代社会和现代人们的日常活动中发现并挖掘隐藏其中的美,哪 怕是“丑陋中的美”。如下面这首《完美》(“Perfecti on ” ):啊,可爱的苹果! 纵然已完全腐烂, 却依旧美丽, 轮廓少有瑕疵——— 也许 顶部有点儿皱 此外别无毛病 处处堪称完美! 啊,可爱的苹果! 那完好无损的表皮 覆盖了何等浓厚 痛苦的褐色! 一个月前我把你 放在门廊的栏杆上 等待你成熟 没有人动过你 外国文学评论 No.2,2010 ①海德格尔:《存在与时间》,陈嘉映、王庆节译,北京:三联书店,1987年,第278页。
2019打工诗歌征稿启事 20xx打工诗歌征稿启事有哪些呢，下面橙子给大家整理了几篇20xx打工诗歌征稿启事文章，欢迎大家阅读。 20xx打工诗歌征稿启事一 一、目的意义 20xx年5月31日，民间诗报《打工诗人》在广东省惠州市发起、创办，标志“打工诗歌”发韧。“打工诗歌”的出现是中国诗歌的一次革命，引起中国文学界、评论界和社会学界的强烈关注和争议。由诗报到诗刊，出刊30期，推出《1985-20xx年中国打工诗歌精选》、《20xx 年中国打工诗歌精选》、《20xx-20xx中国打工诗歌精选》，举办“《打工诗人》创刊十年纪念诗会”等重大活动，《打工诗人》所倡导和推出的“打工诗歌”，影响了一代又一代打工者，已成为当代中国的文化品牌。为推出优秀诗人和优秀“打工诗歌”作品，进一步提升打工写作，建设整合打工文化，繁荣发展文化事业，特举办此次活动。 二、基本原则 坚持民间立场，保持赛事的独立和公正;关注底层生态，注重作品的创新与质量——选出真正的打工诗歌“好作品”。 三、奖项设立 “《打工诗人》20xx-20xx打工诗歌双年奖”设3名获奖者，奖金总额人民币10000元：(一)双年奖杰出诗人奖1名，奖金5000元;(二)双年奖优秀诗人奖1名，奖金3000元;(三)双年奖潜力诗人奖1名，
奖金20xx元。 四、评委设置 双年奖设顾问、初评评委和终评评委： (一)顾问(2人) 孙文涛(著名诗人、诗评家，《打工诗人》特邀顾问) 柳冬妩(著名打工文学评论家，《打工诗人》理论顾问) (二)初评(6人) 罗德远、徐非、任明友、许岚、黄吉文、汪雪英(《打工诗人》编委) 统筹：罗德远(兼) (三)终评(7人) 名单略，为使评奖公平公正，终评评委名单待评选结果出来后再行公布。 五、征稿要求 (一)征稿对象：投稿者职业、年龄、学历和性别等均不限，凡“打工诗歌”写作者均可参加。 (二)征稿时间：20xx年8月1日—20xx年1月15日，以邮箱发送时间为准。 (三)征稿范围：20xx年1月1日—20xx年12月31日期间，在杂志、报纸、专著等刊发(国家、省、市、县级、企业内刊和民间报刊等均在此列)的“打工诗歌”作品。 (四)作品要求：“打工诗歌”作品含现代诗、歌词(只需要歌词，
Sonnet 18 William Shakespeare S hall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines, And of ten is his gold complexion dimm’d; And every fair from fair sometime declines, By chance, or n ature’s changing course untrimm’d; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st; N or shall Death brag thou wander’st in his shade, When in eternal lines to time thou grow’st: So long as men can breathe, or eyes can see, So long lives this and this gives life to thee Selected Metaphysical poems by John Donne I. THE FLEA Mark but this flea, and mark in this, How little that which thou deniest me is ; It suck'd me first, and now sucks thee, And in this flea our two bloods mingled be. Thou know'st that this cannot be said A sin, nor shame, nor loss of maidenhead; Yet this enjoys before it woo, And pamper'd swells with one blood made of two ; And this, alas ! is more than we would do. O stay, three lives in one flea spare, Where we almost, yea, more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is. Though parents grudge, and you, we're met, And cloister'd in these living walls of jet. Though use make you apt to kill me, Let not to that self-murder added be, And sacrilege, three sins in killing three.
Part One：English Poetry 1.William Shakespeare Sonnet 18 ?Why does the poet compare `thee` to a summer?s day? And who could `thee` be? Because summer?s day and thee both represent beauty . thee could be beauty, love. ?What picture have you got of English summer, and could you explain why? Warm, beautiful, sunshine. Because summer is the best season of a year ,the most beautiful season. It is like our May. ?How does the poet answer the question he puts forth in the first line? Thee is more beautiful than summer. ?What makes the poet think that “thou” can be more fair than summer and immortal? Because humanism is more eternal than summer and immortal. ?What figures of speech are used in this poem? Simile, metaphor, personification, oxymoron and so on . ?What is the theme of the poem? Love conquers all, Beauty lives on. 2. Thomas Nashe Spring ?Read the poem carefully, pay attention to those image- bearing words, and see how many images the poet created in the poem and what sense impressions you can get from those images. There is “Blooms each thing, maids dance in a ring, the pretty birds do sing, the palm and may make country houses gay, Lambs frisk' and play, the shepherds pipe all day, And we hear aye birds tune this merry lay, The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit, In every street these tunes bur ears do greet!” The “Young lovers meet, old wives a-sunning sit，”impressions me most because of the harmony of the people?s relationship. ?Can you point out and explain the sound and their musical effect in the poem? In the Poem, each section has four lines, each line has ten syllables ( five tone step ) . In order to give the reader a spring breeze , streams , flowers , winding , Song Xin texture of sound and light flavor, Naixi greater uses English word S , z , f , V , R , L , and θconsonants means. In Naixi's poem, the use of phonological is also very harmonious, very smooth , very mellow. Section I of the poetry has Three pairs [ ing ] , section II of the poem has three pairs [ ei ] and the third quarter has three pairs [ i : ]. 3.John Donne A Valediction: Forbidding Mourning ?What is a “valediction” any way? Is the speaker in the poem about to die? Why does the speaker forbid mourning? No, it is about the lover s?separation. As the poem metaphors, the poet believed he and his wife?s love is sacred, he didn?t hope they cry when separation comes, let their love be stained by the ordinary and mundane.
一、雷克斯罗思的杜甫情结 肯尼斯．雷克斯罗思（Kenneth Rexroth, 1905－1982）并不是美国文坛举足轻重的人物，这主要是由于他不参加任何一个诗歌流派，独往独来，自成一体，他似乎游离于美国主流的诗歌传统之外。但是，雷克斯罗思却是第二次世界大战之后美国第一位重要的诗人，在传播中国文化方面，他尤其做出了突出的贡献。 （一）垮掉派出现以前的垮掉分子 雷克斯罗思出生在印第安纳州，后来长期生活在旧金山。他在美国的中西部度过了青少年时代，13岁时成为孤儿。他所接受的学校教育很不系统，他曾在芝加哥和纽约学习过绘画，当过画家、工人、专栏作家、记者和大学教师。他干过各种杂活，并结识了社会各个阶层人士，从激进的波希米亚文学运动到立体主义诗歌和抽象派绘画，他无不介入。雷克斯罗思一生结过四次婚，共出版了50余部书。1929年，他开始在杂志上发表诗歌作品，1940年出版了第一部诗集。他的主要诗歌作品有︰《几点钟》（In What Hour, 1940）、《凤凰与乌龟》（The Phoenix and the Tortoise, 1944）、《万物的印记》（The Signiture of All Things, 1949）、《世俗智能的艺术》（The Art of Worldly Wisdom, 1949）、《龙与独角兽》（Dragon and Unicorn, 1952）、《捍卫地球》（In Defense of the Earth, 1956）和《自然数》（Natural Numbers, 1963）等。 在50年代，雷克斯罗思成为"垮掉派的教父",同垮掉派作家ailun艾伦?金斯堡（Allen Ginberg, 1926－1997）、弗林盖蒂（Laurence Ferlinghetti, 1920－）和斯奈德（Gary Snyder, 1930－）有着密切的交往。他帮助这些垮掉派作家树立自己独立的形象，并利用自己已经取得的影响协助年轻的诗人进行创作。但应该明确指出的是，雷克斯罗思不是一位垮掉派诗人。他从不愿意把自己的创作局限在某一种风格的标签之下。 雷克斯罗思不仅创作了不少诗作，还写过一些评论文章。他的文学评论也颇有见地，其中比较重要的是他的专着《二十世纪的美国诗歌》（American Poetry in the Twentieth Century, 1971）。雷克斯罗思对亚洲文化有很浓厚的兴趣，他曾经翻译过《日本诗歌一百首》（100 Poems from the Japanese, 1955）、《中国诗歌一百首》（100 Poems from the Chinese, 1956）以及《爱与历史的转折岁月︰中国诗百首》（Love and the Turning Year:100 More Poems from the Chinese, 1970）他还同美籍华人钟玲合译了《中国女诗人》（Women Poets of China, 1972）和《李清照词全集》（Li Ching Chao: plete Poems, 1979）。雷克斯罗思于1974年出版的《新诗集》（New Poems）其实不都是他自己创作的诗。这部诗集包括4个部分︰他自己创作的诗、他翻译的一位假托的日本女诗人的诗、中国诗的仿作以及中国诗的译作。可以看出，雷克斯罗思已经把自己的创作同他对东方文化的介绍联系在了一起。我们甚至很难判断出哪些是他自己的创作，哪些又是翻译的中国诗作。 雷克斯罗思对诗歌创作有着独到的见解，他认为美国文学不应该从欧洲追根溯源，而应该从当地的印第安文化中汲取力量。他强调在诗歌作品中表现个人的生活经验，歌颂大自然和新生事物，抨击腐朽的传统和社会的罪恶。他对劳动人民怀有同情，他有着强烈的正义感，极端痛恨各种人为的灾难，对战争更是深恶痛觉。他曾声称他写诗的目的之一就是"为了揭露一切邪恶"。 在创作技巧上，雷克斯罗思曾做过许多尝试。"他写过意象主义诗、立体主义诗、仿玛拉美的印象主义诗、仿阿波里奈尔的象征主义诗、超现实主义结构的诗、仿中国或日本风格的诗、有爵士乐队伴奏的诗、民谣体的诗、古香古色的山水诗等。"他非常注意从世界各国的文学中汲取营养，曾翻译出版了许多中国、日本、希腊、拉丁、西班牙和法国的诗歌。他认为诗歌既是一种结构，也是一种交流。他自己创作出来的诗接近口语化，清新明朗，亲切自然，具有中国山水画般的宁静和深邃。 （二）雷克斯罗思的《中国诗歌一百首》 雷克斯罗思在研究外国文化的时候，对中国古典诗歌产生了浓厚的兴趣。雷克斯罗思翻
观音山·首届中国新诗人诗歌节 总体方案 前言： 1978—2008年，中国改革开放大写的30年。东莞建地级市20周年。 30年来，改革开放的浪潮席卷整个华夏大地，在中国现代化进程中形成的汹涌澎湃的打工潮。从社会学的意义上讲，人类的流动以其特有的方式影响着自身和社会，对历史的发展起着发酵和催化作用。根据国家统计局统计资料表明：目前，我国已有近1.5亿外出流动打工者，其中广东3104万，占全国流动人口的1/5——广东已成为外来建设中人数最多的大省。这一个旁大的打工者群体，在改革开放最前沿的广东，不仅创造了物质财富，也创造了精神文明，发韧于珠江三角洲的“新诗人打工诗歌”已成为诗坛的一股新鲜力量，它的现实性和当下性，正深刻影响着诗坛的走向。“新诗人打工诗歌”作为一种活跃的文学形式，以积极的态度关注时代，关注社会底层部落的生存与命运，不仅在民间产生深远影响、引起主流文坛的广泛关注，更让众多的打工者享有了文化权益，促进了社会和谐，其作用可谓功莫大焉——这群打工写作者自觉不自觉地成为改革开放以来千百万打工者心灵的代言人、人格精神的形象使者，同是也是促进一个城市走向富足和创造文明进程的生力军，他们倡导的“打工诗歌”，如同打工者对中国现代化进程所作出的贡献一样，理应在当代诗坛占有一席之地。 值此改革开放30周年，为了繁荣打工诗歌，促进社会和谐，由樟木头观音山国家森林公园与中国大型民间诗刊《打工诗人》报主办、中国最畅销的打工期刊《佛山文艺》、《江门文艺》和《打工族》及中国打工文化网等联合协办“观音山首届中国新诗人诗歌节”，希冀以此梳理、探讨“新诗人打工诗歌”的诞生背景、价值和意义，推动“新诗人打工诗歌”的繁荣，进一步促进和谐社会的全面发展，无疑具有特殊的历史意义。同时我们把这个盛大节日引进改革开放的最前沿——东莞召开，更具有强烈的现实意义和人文关怀，这也是全面展示改革开放30年东莞发展成就，推进全国文明城市创建，提升东莞城市形象的具体实践。 一、活动名称： 观音山·首届中国诗歌节