摘要：
In his book Pitch of Poetry,Charles Bernstein writes that his motto has long been Emily Dickinson's "Don't you know that'No'is the wildest word we consign to Language?",indicating that his poetry resonates with the paradoxical meanings of "No" endowed by Dickinson.Bernstein's poetry has a negative economy which is often simply interpreted as purely negative and misinterpreted.Zen and Taoism spread to America in the 1950s.Dr.D.T.Suzuki states that nothingness in Zen denotes not only negativity but also multiple possibilities.Similarly,in Taoism,nothingness is called the Tao,which can engender multiple particular entities and fullness in the universe.Bernstein claims that nothingness serves as a major and pivotal theme in his poetics.Nothingness in Zen-Taoism plays an indispensable role in understanding fully Bernstein's poetics and aesthetics.By interpreting some of Bernstein's representative poems,I argue that the poetic nothingness in Bernstein's poetry serves as not only an elegiac and negative force but also a positive force and a void for "pataquerical struggles" to be engendered in order to make poetics and aesthetics expand to the infinity.Moreover,Bernstein's poetic nothingness is the amalgamation of American literary tradition,American post-conceptual ideas,as well as the nothingness in Zen-Taoism.What is the most significant is that the poetic nothingness in Bernstein's poetry expands the notion of "art for art's sake" and showcases Bernstein's transcendence of the paradox of art.%查尔斯·伯恩斯坦在他的《诗歌的暗音》一书中写道,他的座右铭一直是艾米莉·狄金森的一句话:“难道你不知道‘不’是我们赋予语言的最炽烈的词？”,这表明他的诗歌与狄金森赋予“不”的矛盾悖论意义具有共鸣.伯恩斯坦的诗歌具有否定经济,这一点往往被简单地解读为纯粹的否定,因此常常被一些批评家误解.禅宗和道教在20世纪50年代传播到美国.D.T.铃木大拙博士是一位极具影响力的人物,他使禅宗在西方广为人知.他表明,禅宗哲学的虚无,不仅表示消极性,还表示多种可能性.同样地,在道教中,虚空/虚无被称为道,虚无可以在宇宙中引发多种转化,变为充盈.伯恩斯坦声称,虚无是他诗学中的一个重要而关键的主题.要理解伯恩斯坦的诗学和美学,道禅的虚无起着不可或缺的作用.通过分析伯恩斯坦的一些代表性的诗歌,在伯恩斯坦的诗学中,虚无是一种挽歌力量,也是引发“荒诞玄学探究”发生的空白,旨在扩容诗学和美学至无限.伯恩斯坦的虚无是继承了艾伦·坡和迪金森所代表的美国文学传统,同时与美国后概念诗学思想以及禅宗道教的虚无的融合.最重要的是,伯恩斯坦诗歌对道禅哲学的虚无丰富了“为艺术而艺术”,体现了诗人伯恩斯坦对“为诗歌而诗歌”中诗歌悖论的超越.
