酷我-北美枫

[申万仓]

诗贵言情！

表情达意的，就是好作品。

震撼心灵的，是为上品！


另——
我给你的邮件未发出，就这里告知：同意你邮件的意见。谢谢你的盛情！

[[FAFAFA]]

诗贵言情！

表情达意的，就是好作品。

震撼心灵的，是为上品！


另——
我给你的邮件未发出，就这里告知：同意你邮件的意见。谢谢你的盛情！

[朱新魁]

挂在窗户上的风景
原来是窗外的大海
_________________
朱新魁

[[FFFFFF]]

挂在窗户上的风景
原来是窗外的大海
_________________
朱新魁

[timmid]

马原曾经把写作分为为人民写作和作为人写作。我以为，为人民写作的话，所受外界的影响更多一些，倒不一定是自己与环境无隙的融合，或是自己的由衷之言（比如有的专家学者的这样那样理论，可能连他们自己都不相信啦）。作为人写作的话，则是强调个人的切身感受 ，更强调个性，强调个人在当下语境中的所思所想。有老外曾说过如下论断。我在一篇论文中有所应用。供各位参考
Language as a mode of being

Humans are context-bound, that is, they constantly attune to our context. This can be better felt if we turn our attention back to everyday experience, which we often ignore. Dewey sited some such experiences:
The sights that hold the crowd- the fire engine rushing by---the men perched high in the air on girders, throwing and catching red-hot bolts. The sources of art in human experience will be learned by him who sees how the tense grace of the ball player infects the onlooking crowd. (1934:5)
In each of these experiences, they can not remain a detached observer. Rather, they are appropriated by an event integrated with it. As described by Dewey, this experience
Comes form nature and man interacting with each other. In this interaction, human energy gathers, is released dammed up, frustrated and victorious. There are rhythmic beats of want and fulfillment, pulses of doing and being withheld from doing. (1934:16)
Our interaction with the context is mediated by language because in this language-encrusted world, there is always language constantly between the world and us. Our interaction with the context, in this sense, is language experience. Language experience involves inscribing sounds, shaping structures, interacting with people, remembering and evoking prior text, and referring to the world. Successful writing requires, accordingly, the harmonization of constraints from the following sources:
Successfully making sounds (or inscribing them).
Successfully building structures
Successfully evoking prior text (or scripts)
Successfully interacting with other people
Successfully referring to a world
Accordingly, a particular language is attuned to context in at least five different ways, depending on the mode of context: medium, interpersonal use, lingual structure, evoked prior text, and the extralingual world it presupposes.
Context here, as implied by the above elaboration, refers to a situational context couched in a cultural one, that is, a full context where language can be a form of life. A form of life is “a pattern of meaningful behavior in so far as this is constituted by a group” (qtd. in Gorlee, 1994: 99), which is different

on the one hand, from behavior which does not have such meaning as, for example, physical or biological happenings, and, on the other hand, from totally individual behavior which, while it may be “meaningful” in some sense, is not an established group meaning. Shopping, for example, is something which people do in some societies and which is shared by them as a meaningful activity. (ibid., 99)

Language is the result of the socialization process, and therefore is culturally determined. It represents a cultural unit which is the meaning to which the code makes the system of sign-vehicles correspond.

[C]ulture continuously translates signs into signs, and definitions into definitions, words into icons, icons into ostensive signs, ostensive signs into new definitions, new definitions into propositional functions, prepositional functions into exemplifying sentences, and so on; in this way it proposes to its members an uninterrupted chain of cultural units composing other cultural units, and thus translating and explaining them. (ibid., 100)
_________________
无话可说

[[timmmid]]

马原曾经把写作分为为人民写作和作为人写作。我以为，为人民写作的话，所受外界的影响更多一些，倒不一定是自己与环境无隙的融合，或是自己的由衷之言（比如有的专家学者的这样那样理论，可能连他们自己都不相信啦）。作为人写作的话，则是强调个人的切身感受 ，更强调个性，强调个人在当下语境中的所思所想。有老外曾说过如下论断。我在一篇论文中有所应用。供各位参考
Language as a mode of being

Humans are context-bound, that is, they constantly attune to our context. This can be better felt if we turn our attention back to everyday experience, which we often ignore. Dewey sited some such experiences:
The sights that hold the crowd- the fire engine rushing by---the men perched high in the air on girders, throwing and catching red-hot bolts. The sources of art in human experience will be learned by him who sees how the tense grace of the ball player infects the onlooking crowd. (1934:5)
In each of these experiences, they can not remain a detached observer. Rather, they are appropriated by an event integrated with it. As described by Dewey, this experience
Comes form nature and man interacting with each other. In this interaction, human energy gathers, is released dammed up, frustrated and victorious. There are rhythmic beats of want and fulfillment, pulses of doing and being withheld from doing. (1934:16)
Our interaction with the context is mediated by language because in this language-encrusted world, there is always language constantly between the world and us. Our interaction with the context, in this sense, is language experience. Language experience involves inscribing sounds, shaping structures, interacting with people, remembering and evoking prior text, and referring to the world. Successful writing requires, accordingly, the harmonization of constraints from the following sources:
Successfully making sounds (or inscribing them).
Successfully building structures
Successfully evoking prior text (or scripts)
Successfully interacting with other people
Successfully referring to a world
Accordingly, a particular language is attuned to context in at least five different ways, depending on the mode of context: medium, interpersonal use, lingual structure, evoked prior text, and the extralingual world it presupposes.
Context here, as implied by the above elaboration, refers to a situational context couched in a cultural one, that is, a full context where language can be a form of life. A form of life is “a pattern of meaningful behavior in so far as this is constituted by a group” (qtd. in Gorlee, 1994: 99), which is different

on the one hand, from behavior which does not have such meaning as, for example, physical or biological happenings, and, on the other hand, from totally individual behavior which, while it may be “meaningful” in some sense, is not an established group meaning. Shopping, for example, is something which people do in some societies and which is shared by them as a meaningful activity. (ibid., 99)

Language is the result of the socialization process, and therefore is culturally determined. It represents a cultural unit which is the meaning to which the code makes the system of sign-vehicles correspond.

[C]ulture continuously translates signs into signs, and definitions into definitions, words into icons, icons into ostensive signs, ostensive signs into new definitions, new definitions into propositional functions, prepositional functions into exemplifying sentences, and so on; in this way it proposes to its members an uninterrupted chain of cultural units composing other cultural units, and thus translating and explaining them. (ibid., 100)
_________________
无话可说

[timmid]

有的小说家，象余华，方方等曾提出小说家的功力就在于把真的东西写假，而不是象过去那样尽量把假的东西写真。非常奇怪的是我常常会经历，在自己的写诗中或是读诗中，类似的东西。我们仿佛是在用种种玄奥把真的东西变得过于修饰，难道这便是诗人的功力所在？既然是写意，那么直诉胸臆吗？但是语言，如我们深信的那样，就是一门曲折的艺术。我们总是在语言中，曲折的与我们当下的语境相遇，如隔靴搔痒。出路何在呢？
_________________
无话可说

[[timmmid]]

有的小说家，象余华，方方等曾提出小说家的功力就在于把真的东西写假，而不是象过去那样尽量把假的东西写真。非常奇怪的是我常常会经历，在自己的写诗中或是读诗中，类似的东西。我们仿佛是在用种种玄奥把真的东西变得过于修饰，难道这便是诗人的功力所在？既然是写意，那么直诉胸臆吗？但是语言，如我们深信的那样，就是一门曲折的艺术。我们总是在语言中，曲折的与我们当下的语境相遇，如隔靴搔痒。出路何在呢？
_________________
无话可说

[肖今]

质朴，直接，晓畅使诗歌硬朗有力，年岁增长，就越喜欢这种风格。
——与高岸同感

诗歌是给谁看的很重要，所以有时候我们可以不需要刻得太深，不然，反烘托不出自己想要表达的意思。有时候直接也是种性情，直接可以缩短距离。

看到大家气氛这么好，偶也忍不住要说说了。

……快闪：）
_________________
░░破茧成蝶 眼泪，从此不咸░░

NO FOREVER , ONLY LONGER！

[[King]]

质朴，直接，晓畅使诗歌硬朗有力，年岁增长，就越喜欢这种风格。
——与高岸同感

诗歌是给谁看的很重要，所以有时候我们可以不需要刻得太深，不然，反烘托不出自己想要表达的意思。有时候直接也是种性情，直接可以缩短距离。

看到大家气氛这么好，偶也忍不住要说说了。

……快闪：）
_________________
░░破茧成蝶 眼泪，从此不咸░░

NO FOREVER , ONLY LONGER！

[艺芳]

鸣斑，怎么最近看不到你的新作了？忙了吗？问好！
_________________
风来意在疏竹，雁过了无痕迹！

[[风来疏竹]]

鸣斑，怎么最近看不到你的新作了？忙了吗？问好！
_________________
风来意在疏竹，雁过了无痕迹！

[晓鸣]

家里这几天从中国来了一位好友.正忙呢.

[[自己的敌人]]

家里这几天从中国来了一位好友.正忙呢.