The citation of found text and the incorporation of archival materials into poetry have been characteristic of some of the more innovative poetics in English since at least the publication of The Wasteland in 1922. The turn to found text in modernist poetics is comparable with the turn to objet trouvé in visual art from the same period, perhaps most famously represented by Marcel Duchamp’s presentation of objects as artworks through his readymades. Although the employment of found text is not unknown in modernist lyric poetry – the work of Frank O’Hara would be one example – poets working in extended forms in particular have extensively employed citation from other sources. Several of the great American long poems of the twentieth century – Ezra Pound’s Cantos, Louis Zukofsky’s A, William Carlos Williams’ Paterson, Muriel Rukeyser’s The Book of the Dead, Charles Olson’s Maximus Poems – all make extensive use of found text to expand the historical scope of their work, in keeping with the conventions of the epic and of the serial poem. In Canadian literature, the field on which I focus in this essay, “[t]he eminence of these American poets and poems suggests at least one reason why the found poem emerged as part of the documentary tradition” (Heath 299). Citing among her examples Anne Marriott’s The Wind Our Enemy, E.J. Pratt’s The Titanic, and George Bowering’s Rocky Mountain Foot, the Canadian poet Dorothy Livesay claimed in 1968 that the “documentary poem” was “a Canadian Genre,” one which attempts to “create a dialectic between the objective facts and the subjective feelings of the poet,” at least in part through the citation of “non-poetic” documents (267). Writing at the height of Anglo-Canadian cultural nationalism in the late 1960s, Livesay distinguishes this documentary tradition from both the British long poem – the “strict narrative pattern” in the long poems of Tennyson or Robert Browning, for instance – as well as U.S. long poems such as those I list above, “where the emphasis is on historical perspective and the creation of a national myth” (269). Since the turn of the millennium, however, appropriative poetics has expanded both in terms of the number of practitioners and the extremity of the appropriations across North America, due in no small part to new

中文翻译：

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档案馆和本土性：定居者-殖民地档案馆中适当的诗意干预

自从至少在1922年出版《荒原》以来，引用发现的文献以及将档案材料结合到诗歌中就成为了一些更具创新性的英语诗学的特征。同一时期的视觉艺术中的对象，也许最著名的代表是马塞尔·杜尚（Marcel Duchamp）通过现成的艺术品来展示对象。尽管在现代主义抒情诗中并不难发现所发现的文字，弗兰克·奥哈拉（Frank O'Hara）的作品便是一个例子，但以扩展形式工作的诗人尤其广泛地使用了其他来源的引文。二十世纪的几本伟大的美国长诗-埃兹拉·庞德的《颂歌》，路易斯·祖科夫斯基的《 A》，威廉·卡洛斯·威廉姆斯的《帕特森》，穆里尔·鲁基瑟（Muriel Rukeyser）的《死者之书》，查尔斯·奥尔森（Charles Olson）的《马克西姆斯诗》（Maximus Poems）都充分利用了已发现的文字，以扩大其作品的历史范围，并与史诗和系列诗的惯例保持一致。在加拿大文学中，我在本文中关注的领域是：“这些美国诗人和诗歌的杰出之处至少表明了所发现的诗歌成为纪录片传统的一部分的原因”（希思299）。加拿大诗人Dorothy Livesay引用了安妮·万豪（Anton Marriott）的《我们的敌人的风》，EJ普拉特（EJ Pratt）的《泰坦尼克号》和乔治·鲍林（George Bowering）的落基山脚的诗作，并在1968年宣称，“纪录片诗”是“加拿大风格”，试图“创造”诗人的客观事实和主观感受之间的辩证法，”至少部分是通过引用“非诗歌”文档（267）。在1960年代后期，Livesay在英美加拿大文化民族主义的鼎盛时期写作，将这种纪录片传统与英国的长诗（例如Tennyson或Robert Browning的长诗中的“严格叙事模式”）以及美国区分开来。我上面列举的那些长诗，“重点是历史观点和民族神话的创造”（269）。然而，自千年之交以来，专用诗学在北美从业人员的数量和拨款的极端性方面都在扩大，这在很大程度上是由于新的 Livesay将这种纪录片传统与英国的长诗（例如Tennyson或Robert Browning的长诗中的“严格叙事模式”）以及美国的长诗（例如我上面列举的长诗）区分开来。历史观点和民族神话的创造”（269）。然而，自千年之交以来，专用诗学在北美从业人员的数量和拨款的极端性方面都在扩大，这在很大程度上是由于新的 Livesay将这种纪录片传统与英国的长诗（例如Tennyson或Robert Browning的长诗中的“严格叙事模式”）以及美国的长诗（例如我上面列举的长诗）区分开来。历史观点和民族神话的创造”（269）。然而，自千年之交以来，专用诗学在北美从业人员的数量和拨款的极端性方面都在扩大，这在很大程度上是由于新的