Linder Birgit Bunzel
Lit Med. 2015 Fall;33(2):368-92. doi: 10.1353/lm.2015.0015.
Recently, proponents of the critical medical humanities have recommended a more discerning view of the ways in which genres and forms "speak" to and for illness, looking specifically at cultural and historical dimensions and cultural specificities of idioms of distress rather than at transhistorical and transcultural approaches. These two claims for a genre-specific critique and, in this case, a cross-cultural approach, ground my reading of the work of Chinese poets Guo Lusheng (Indexfinger; b. 1948) and Wen Jie (b. 1963), diagnosed with schizophrenia and clinical depression, respectively. The study uncovers a lyrical voice that takes shape in the poets' illness-related content, but also in the formal aspects of the Chinese poetic tradition. I argue that the delight of writing poetry lies less in the attempt to express a subjective experience than in finding the devices and forms that integrate an individual experience into a collective form of "illness poetics."
最近,批判医学人文学科的支持者建议,以一种更具洞察力的视角看待各种体裁和形式“诉说”疾病以及为疾病发声的方式,尤其关注文化和历史维度以及痛苦表述的文化特殊性,而非跨历史和跨文化的方法。这两种关于特定体裁批判以及在此案例中的跨文化方法的主张,构成了我对中国诗人郭路生(食指;生于1948年)和文杰(生于1963年)作品解读的基础,他们分别被诊断患有精神分裂症和临床抑郁症。该研究揭示了一种抒情声音,它不仅在诗人与疾病相关的内容中形成,也在中华诗歌传统的形式层面得以体现。我认为,写诗的乐趣不在于试图表达主观体验,而在于找到将个人体验融入“疾病诗学”这一集体形式的手法和形式。