| 现成品文学发展述评——“非原创天才”的“非创意写作” |
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| 引用本文：李 洁.现成品文学发展述评——“非原创天才”的“非创意写作”[J].湖南大学学报社会科学版,2022,(2):107-112 |
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| 中文摘要:杜尚创造的“现成品艺术”对20世纪中后期的艺术产生了深远影响，而在此前后，文学创作中也出现了利用先在的文本进行再创作的作品——现成品文学。本雅明以引语蒙太奇建构起了巴黎拱廊；凯奇以通写的手法重塑了文字文本的感观世界；歌德史密斯的极端抄写将“非创意写作”发挥到了极致；Flarf诗歌借助互联网技术和内容将现成品文学引入数字化时代。这些作品不仅引发了对作者-读者-文本三边关系和“创新”的再度思考，还呈现出不同时代的经济、文化和科技在现成品文学创作的形式和内容上留下的深刻印记。 |
| 中文关键词:现成品 本雅明 凯奇 歌德史密斯 |
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| A Review on the Development of Found Poetics: “Unoriginal Genius” “Uncreative Writing” |
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| Abstract:The “found art” created by Duchamp had a profound influence on the art in the middle and late 20th century. However, almost before and after that time, in literature works using existing texts appeared, that is, found literature. Benjamin constructed the Paris arcade with a quotation montage; Cage reinvented the world of perception of the text by way of “writing through”; Goldsmith’s extreme copying has brought “uncreative writing” to the extreme; Flarf poetry introduced the found literature into the digital age with the help of internet technology and materials. These works not only trigger a rethinking of the writer-reader-text tripartite relationship and “innovation”, but also show the profound imprints left by the economy, culture and technology of different times on the form and content of literary creation. |
| keywords:found object Benjamin Cage Goldsmith |
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