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在去年发表于《文艺研究》上的一篇文章中,我谈到一种看法:后现代转折从根本上改变了“总体文学”的状况,它将狭义的“文学”置于边缘,又将广义的“文学性”置于中心,我名之为“文学的终结与文学性的统治”。面对这一巨变,传统的文学研究如果不调整和重建自己的研究对象,必将茫然无措,坐以待毙。所谓狭义的“文学”指的是作为一种艺术门类和文化类别的语言现象,它的概念内涵主要由19世纪末和20世纪初以来的形式主义文学批评所规定,其外延通常指诗歌、小说、戏剧文学、抒情散文。如此这般的“文学”在图像时代的今天彻底边缘化了。但是,发人深思的是,在狭义的文学边缘化的同时,广义的“文学性”却中心化了。在后现代场景中,我们稍加留神,就会发现
In an article published in “Literature and Art Research” last year, I came to the view that the postmodern turning point has fundamentally changed the status of “general literature” by placing the narrow “literary” at The marginalization, in turn, places the generalized “literary” in the center, which I call “the end of literature and the literary domination.” Faced with this great change, traditional literary studies will be at a loss what to do if they do not adjust and rebuild their own research subjects. The so-called narrow “literature ” refers to the language phenomenon as a category of art and culture. Its connotation is mainly defined by formalist literary criticism since the late 19th and early 20th centuries. Its extension usually refers to poetry, Novels, dramatic literature, lyric prose Such “literary” is completely marginalized today in the age of images. However, it is thought-provoking that while the narrower literature is marginalized, the generalized “literary nature” is centralized. In a postmodern scene, we will notice a little bit of attention