体裁的流变：加拿大当代文档诗的文体重构
The Evolution of Genres: The Reconstruction of Genres in Canadian Documentary Poems

加拿大当代英语文坛的三部著名长诗：迈克尔？翁达杰的《比利小子作品集》、玛格丽特？阿特伍德的《苏姗娜？穆迪日记》与安？卡森的《红的自传》，都是在原有的历史材料或文学文本基础上再创造的“文档诗”。这三首长诗在重述、整合与虚构文档的同时，也分别对自传、日记与作品集这三种载体形式进行了颠覆性解构。通过分析三部作品分别以照片的空白、模糊与变形对摄影这种相对现代且纪实的形式的后现代主义的处理，在探究文档诗在体裁重构过程中的叙事哲学与策略的同时，亦能管窥当代加拿大文学创作的后现代主义式多元化探索和走向。
Three famous long poems in contemporary Canadian English literature: Michael Ondaatje’s The Collected Works of Billy the Kid, Margaret Atwood’s The Journals of Susanna Moodie and Anne Carson’s Autobiography of Red, are all “documentary poems” recreated on basis of existing historical materials or literary texts. While restating, integrating, and fabricating documents, these three long poems subversively deconstruct the three carrier forms: autobiography, journal, and collection. The three works deal with photography, the relatively modern and documentary form, by taking the blankness, blur, and distortion of photographs as clues, which can explore the narrative philosophy and strategies of documentary poems in the process of the reconstruction of genres, and can also glimpse the postmodernist diversified trend and exploration of contemporary Canadian literary creation.