【摘要】 受本雅明的启迪，美国当代诗人乔瑞·格瑞厄姆在诗集《唯物论》中营造出“晕彩”这一统合审美活动、批评理论与社会学话语的诗学概念。“晕彩”呈现主体意向与专注、诗歌意义与效果的渗透，以之召唤诗歌批评自足论和语境论的共存。“晕彩”修辞将诗歌书写置于大于自身的混合话语场，既强调诗人的多元角色及其对诗歌形式、诗歌生态的道德自觉，又以意象谜语的方式调动读者在历史碎片中发现危机和捕捉生机的意识。“晕彩”诗学彰显“诗人-诗歌-读者”的共生模式，使诗歌的修辞朝向自身过程的历史塑形以及生存教育的范式树立。更多还原

【Abstract】 Illuminated by Walter Benjamin, contemporary American poet Jorie Graham, in her poetry collection of Materialism, constructed a poetic concept of “Iridescence” to unify aesthetic activities, critical theories and sociological discourses. The iridescent unification presents interpenetrations of the subject’s intention and attention and of the poetic meanings and effects, by which to summon the coexistence of the autonomous theory and the contextual theory in poetic criticism. The rhetoric of iridescence puts the poetic writing in a field of mixed forces larger than its own, emphasizing the poet’s multiple roles and his/her moral awareness of the poetic form and poetry’s ecology and initiating, with the riddle of poetic images, the reader’s consciousness of finding potential crises and capturing survival opportunities in historical wreckages. Highlighting the pattern of “poet-poetry-reader” symbiosis, the iridescent poetics orients the rhetoric of poetry towards the history-configuration of its own course as well as the paradigm-building for existential education.更多还原