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【Abstract】One of the quintessential novelists in contemporary America， E.L. Doctorow is well renowned for his innovative juxtaposition of historical and imaginative texts， and is matter-of-coursely tagged as a “postmodern author”. Nevertheless， through thorough research on his artistic principles and literary practices， we may detect a kind of spiritual reference that is in stark contrast to the postmodern literary thoughts， but quite in tune with American Romanticism. Interpreting Doctorow’s novelistic creation with the aid of the Romantic principles and attitudes may help throw light to the appreciation of Doctorow’s work， redress the stereotypical title — “postmodern writer”， bringing more vitality to the Doctorow criticism.
【Key words】Doctorow’s fiction； Romantic inclination； postmodern context
Introduction
E. L. Doctorow is one of the quintessential contemporary American writers， being regarded as a “postmodern writer”. Yet， it would seem that Doctorow’s work does not demonstrate skepticism and relativism that are usually deemed as the striking features of the postmodern literature. It is safe to say that Doctorow’s technical sophistication in postmodern fiction may not make him qualified enough for a postmodern writer. This paper attempts to assert that Doctorow is basically a literary Romanticist whose work demonstrates affinities with Romantic notions of art creation， reflecting his humanist spiritual concerns in a postmodern context.
I. Combination of Emersonian Romanticism and Gnostic Spirit
Doctorow’s idea on art creation is totally in tune with the Romantic criticism in general and with the American Romanticism represented by Emerson’s theory in particular. Of all his literary mentors， Ralph Waldo Emerson could not be more over evaluated. As a transcendental theorist， Emerson takes the initiative to come up with the Romantic literary slogan. He is regarded as “the forerunner of our American Gnosis” by Harold Bloom， since the principal doctrines of his transcendentalism are replete with Gnostic spirit. Those transcendental and Gnostic thoughts are all given full expression in Doctorow’s literary principles and practices. In his fiction， Doctorow investigates the notion of self-reliance， endowing narrators with a sort of guiding light that eventually leads to a Gnostic revelation. Under the impetus of Emerson’s self-reliance and Oversoul， all the narrators seem to make narrative quest for an integrate Self， so as to realize the Gnostic target：to recover the inner deity and finally reunite with the pre-originary unity. II. Romantic View on Truth and Truthfulness
In terms of truth and truthfulness， Doctorow holds the romantic view that “the imagination produces and finds truth” （Sanoff， 105）. He endows imagination with creative power. What Doctorow practices in reaching narrative truthfulness reflects his literary principle which leads to his polyphonic narration. Reaching different facets of the Truth demands the viewer of multiple perspectives. The narrating mode of this novel is conducive to fulfill this task. In some of his novels， with the aid of such postmodern devices as the shattering of narrative line and the fragmenting of the single narrative perspective into multiple points of view， Doctorow is able to make his narrators obtain an all-round view on the matter. This writing technique conforms perfectly to Doctorow’s literary doctrine of “multiplicity of witness”.
III. Romantic Perception on Artistic Creation
A close study of Doctorow’s reflections on his literary creation could demonstrate an affinity to Romantic doctrines. Romanticism stresses on imagination and inspiration. Doctorow firmly believes that imagination is a kind of gift and the creation of a novel may bestow the writer with the acuteness or wisdom or perception， the essential qualities which he ascribes to a novelist of good fiction and which the writer fails to obtain from non-fictive works. He is committed to the propositions that imagination produces and finds truth and that imagination effects and composes the world which in turn influences it. Romanticism gives accent to the spirit of the subject， disbelieving reason and science. Furthermore， the primary target of Romantic literature is to advocate an ideal world and social amelioration. Likewise， Doctorow places his hope for a promising future for humanity in his fiction through the discussions on the heavy issues such as history， politics， religion， philosophy and his solicitude for human spirit as well.
Conclusion
Therefore， it is improper and difficult to separate Doctorow from the Zeitgeist in which he writes. Nowadays， postmodernism has become a universal humanist context and cultural climate in the postmodern era. The main purport of this study is to extend the Doctorow criticism beyond the much-stressed political， historical and postmodern scopes， with the aid of some notions and doctrines of Romanticism， intending to redress the stereotypical title of the “postmodern author” tagged by the critical circle for Doctorow， in the hope to add vivacity and open new horizon to the Doctorow scholarship.
References：
[1]Doctorow.E.L.Creationists[M].New York：Random House，2006.
*本文系重慶市社科规划项目（2015BS081）阶段性成果之一。
【Key words】Doctorow’s fiction； Romantic inclination； postmodern context
Introduction
E. L. Doctorow is one of the quintessential contemporary American writers， being regarded as a “postmodern writer”. Yet， it would seem that Doctorow’s work does not demonstrate skepticism and relativism that are usually deemed as the striking features of the postmodern literature. It is safe to say that Doctorow’s technical sophistication in postmodern fiction may not make him qualified enough for a postmodern writer. This paper attempts to assert that Doctorow is basically a literary Romanticist whose work demonstrates affinities with Romantic notions of art creation， reflecting his humanist spiritual concerns in a postmodern context.
I. Combination of Emersonian Romanticism and Gnostic Spirit
Doctorow’s idea on art creation is totally in tune with the Romantic criticism in general and with the American Romanticism represented by Emerson’s theory in particular. Of all his literary mentors， Ralph Waldo Emerson could not be more over evaluated. As a transcendental theorist， Emerson takes the initiative to come up with the Romantic literary slogan. He is regarded as “the forerunner of our American Gnosis” by Harold Bloom， since the principal doctrines of his transcendentalism are replete with Gnostic spirit. Those transcendental and Gnostic thoughts are all given full expression in Doctorow’s literary principles and practices. In his fiction， Doctorow investigates the notion of self-reliance， endowing narrators with a sort of guiding light that eventually leads to a Gnostic revelation. Under the impetus of Emerson’s self-reliance and Oversoul， all the narrators seem to make narrative quest for an integrate Self， so as to realize the Gnostic target：to recover the inner deity and finally reunite with the pre-originary unity. II. Romantic View on Truth and Truthfulness
In terms of truth and truthfulness， Doctorow holds the romantic view that “the imagination produces and finds truth” （Sanoff， 105）. He endows imagination with creative power. What Doctorow practices in reaching narrative truthfulness reflects his literary principle which leads to his polyphonic narration. Reaching different facets of the Truth demands the viewer of multiple perspectives. The narrating mode of this novel is conducive to fulfill this task. In some of his novels， with the aid of such postmodern devices as the shattering of narrative line and the fragmenting of the single narrative perspective into multiple points of view， Doctorow is able to make his narrators obtain an all-round view on the matter. This writing technique conforms perfectly to Doctorow’s literary doctrine of “multiplicity of witness”.
III. Romantic Perception on Artistic Creation
A close study of Doctorow’s reflections on his literary creation could demonstrate an affinity to Romantic doctrines. Romanticism stresses on imagination and inspiration. Doctorow firmly believes that imagination is a kind of gift and the creation of a novel may bestow the writer with the acuteness or wisdom or perception， the essential qualities which he ascribes to a novelist of good fiction and which the writer fails to obtain from non-fictive works. He is committed to the propositions that imagination produces and finds truth and that imagination effects and composes the world which in turn influences it. Romanticism gives accent to the spirit of the subject， disbelieving reason and science. Furthermore， the primary target of Romantic literature is to advocate an ideal world and social amelioration. Likewise， Doctorow places his hope for a promising future for humanity in his fiction through the discussions on the heavy issues such as history， politics， religion， philosophy and his solicitude for human spirit as well.
Conclusion
Therefore， it is improper and difficult to separate Doctorow from the Zeitgeist in which he writes. Nowadays， postmodernism has become a universal humanist context and cultural climate in the postmodern era. The main purport of this study is to extend the Doctorow criticism beyond the much-stressed political， historical and postmodern scopes， with the aid of some notions and doctrines of Romanticism， intending to redress the stereotypical title of the “postmodern author” tagged by the critical circle for Doctorow， in the hope to add vivacity and open new horizon to the Doctorow scholarship.
References：
[1]Doctorow.E.L.Creationists[M].New York：Random House，2006.
*本文系重慶市社科规划项目（2015BS081）阶段性成果之一。