Abstract: Chen Dongdong has used the term “baroque” many times in his poetic essays and poems. The term “baroque writing” can be used to refer to his creative work of more than forty years. Taking western studies as a reference, Chen Dongdong's “baroque writing” presents two directions: firstly, as Ernst Robert Curtius and others have argued, “Baroque” is the embodiment of a long history of “mannerism”, and Chen Dongdong's aesthetic qualities are basically in line with the tradition of Southern poetry which corresponds to it in general; secondly, as Walter Benjamin's study with a historical-social-critical dimension has shown, “baroque” foreshadows the characteristics of modernist poets and writers, such as Charles Baudelaire and Franz Kafka, and Chen Dongdong has sought to incorporate the local experience of modernity into his own work. These two aspects correspond to the classical origin and modernity of Chen Dongdong's works respectively, and also illustrate his inheritance and reinvention of Chinese Southern poetic tradition.

Key words: Chen Dongdong, Baroque, Ernst Robert Curtius, Walter Benjamin, modern Chinese poetry

摘要： 陈东东在诗学随笔及诗作中多次使用“巴洛克”一词,或可用“巴洛克书写”指称其长达40余年的创作。以西学为参照,陈东东的“巴洛克书写”呈现出两个面向：其一,如库尔提乌斯等人所主张的,“巴洛克”乃是源远流长的“矫饰主义”的体现,而陈东东的创作上承南方诗歌的传统,其美学特质与之吻合;其二,如本雅明带有历史哲学维度的研究所示,“巴洛克”预示了现代派诗人、作家的写作方式,而陈东东也力图将本土的现代性经验转化为诗歌。这两个面向分别对应了陈东东作品的古典渊源和现代气息,正好可以说明其对南方诗歌传统的继承与再造。对陈东东的“巴洛克书写”的探讨,并非单一的“影响研究”,现代汉诗生成发展的自主因素才是其中根本。

关键词: 陈东东, 巴洛克, 库尔提乌斯, 本雅明, 现代汉诗