娜塔莎·特里瑟维诗歌的一个重要特征在于视觉的霸权,即她试图从历史的重负中探寻意义时所面对的照片和其他图像呈现形式的主宰地位。然而,特里瑟维并不是被动地接受这种视觉霸权,而是利用经验性记忆和从阅读中获取的记忆来挑战视觉,探寻到底有什么不在场、有什么在视觉上被成功隐藏并且除非经过严密检视才能发现。本文通过引述特里瑟维在《超越卡特里娜:密西西比口海岸的冥想》(2010)中表达的有关图示的观点,试图勾勒出诗人通过解析作为文本的视觉呈现来进行历史探索的策略和技巧。 One of the key features of Natasha Tricsev’s poetry lies in the hegemony of vision, the dominance of photographs and other forms of imagery that she faces while trying to find meaning from the burdens of history. Instead of accepting this visual hegemony passively, Tressewe challenged the visual using empirical memories and memories gained from reading to find out what is absent and what is visually hidden from success and unless After a close examination can be found. This article attempts to outline the poet’s strategy of historical exploration by parsing the visual representation as a text by citing Tricity’s notion of pictorial representation in “Beyond Katrina: The Meditation on the Mississippi Coast” (2010) skill.