本文拟从互文与戏仿视角对1919—1949年美国诗歌和中国诗歌的关系进行初步探索，旨在说明：1919—1949年美国诗歌对中国诗歌的互文与戏仿具有丰富和鲜活的内容，表现在：（1）庞德掀起的《神州》风愈吹愈烈，呈现出巨大的张力；（2）中国儒、道、禅的译介和传播在美国焕发出勃勃生机；（3）戏仿中国古诗成为美国新诗诗人与学院派诗人抗衡的重要途径；（4）中国诗歌使美国诗歌的发展走向多元。该研究的意义在于它揭示了1919—1949年中美诗歌的互文与戏仿具有文学史上的特殊性：对中国诗歌来说，由于外部环境稳定性欠缺，造成对美国诗歌的互文与戏仿动力不足；相比之下，该时期的美国诗歌对中国诗歌的互文与戏仿实现了文本的狂欢。%This paper is intended to employ the intertextual and parodic perspectives to view the intrinsic relationship between American poetry and Chinese poetry from 1919 to 1949, aiming to show that the intertextuality and parody of American poetry upon Chinese poetry from 1919 to 1949 has abundant and refreshing contents. The contents are represented as follows, firstly, imitating Ezra Pound’s Cathay is becom-ing increasingly popular in American literary circles, thus forming a tensile force; secondly, the translation, introduction and transmission of Chinese philosophies like Confucianism, Daoism and Zen in America are revealing great vitality; thirdly, parodying Chinese classical poetry is a significant channel for American modern poets to fight against academic poets; and fourthly, Chinese poetry is making American poetry diversi-fied in its orientation and development. Therefore, the value of the study is highlighted through observing the particular historic function of the intertextuality and parody of American poetry upon Chinese poetry from 1919 to 1949. Specifically, American poetry in this period realized the unusual textual carnivalization in the intertextuality and parody of Chinese poetry while Chinese poetry has no constant intertextual and parodic reference from American poetry due to the lack of the stability of the external environment.
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