论新时代中国外国文学批评的立场、导向和方法
|
摘要
改革开放40年来,中国外国文学研究者引进和吸收西方国家的文艺理论、批评方法和研究观点,在外国文学批评上取得快速发展,已足以形成我们自己的批评立场、模式和理论。比照中西思想之异同,探讨中国外国文学批评的立场、导向和方法,将有益于探明新时代中国外国文学批评的发展趋势。在批评立场上,以翻译引进和充分运用西方文论这两个阶段为基础,我们的外国文学批评正处在"以我为主,为我所用"的新阶段,要坚持"中国思维"和"对话创新"原则,即以中国思维为主导,力求中西贯通,展现我们的世界主义视野。在批评导向上,面对西方现当代批评理论先导且频繁建构/解构的趋势,我们的外国文学批评可遵循"知人论世""以意逆志""六观说"等中国诗学原则,中西互鉴,推进审美批评。在批评方法上,面对西方批评根深蒂固的"定义—分析"修辞学模式,我们的外国文学批评可遵循中国诗学的"整体观照法",不仅促进审美批评,而且实现中国批评理论的创新。
Since the implement of Reform and Opening-up policy 40 years ago,Chinese researchers on foreign literatures have introduced and absorbed Western literary theories,critical approaches and research viewpoints abundantly,and have witnessed a rapid development in the Chinese foreign literature criticism,which makes possible the formation and enhancement of Chinese critical position,modes and theories in this field.The development trends of Chinese literary criticism in the New Era will be examined from three perspectives,namely,positions,orientations and methodologies.In terms of critical position,Chinese criticism is in a new stage of ″adhering to ourselves and benefiting for our own use″,which means that our criticism will follow the principles of ″Chinese mode of thinking″ and ″dialogue-innovation″.The former refers to an adherence to Chinese xiang(image) thinking pattern,which is characterized by an integral,correlative,complementary and dynamic thinking way based on the unity of nature and human beings and that of subject and object.The latter indicates an effort to unify China and the West,to be more specific,to blend Chinese holistic vision with Western rational analysis,and to fuse perception of soul with an analysis of things in order to interconnect aesthetic comprehension with rational cognition.In terms of the critical orientation,firstly we need to recognize that the difference between Western dominant epistemological criticism and Chinese dominant aesthetic criticism is that the former regards critical object as a ″thing″ to be analyzed rationally so as to deduce and verify general truth,in other words,it begins with a theoretical hypothesis,and its rational analysis leads to an ultimate verification or amendment of the hypothesis,the latter considers critical object as ″soul″ to be comprehended by the critic so that he may experience communication,resonance and insight in the literary work,in other words,it starts from the intersection of life perception between the critic and the literary works,and the critic’s holistic vision of the work leads to the disclosure of insight into life and artistic beauty.Secondly,we shall grasp the sameness and the differences between Western marginalized aesthetic criticism and Chinese dominant aesthetic criticism.The sameness is that both define criticism as an aesthetic experience. And the difference is that Western aesthetic criticism emphasizes inner life exploration by means of imagination,judgement and learning,while Chinese aesthetic criticism stresses the disclosure of both insight into life and artistic form,which has established writing categories as Shensi(spirit and imagination),Xujing(emptiness and serenity),Miaowu(transcendental epiphany),Xushi(fiction and truth),formal categories as Qingzhi(emotion and thought),Wenzhi(expression and quality),Yixiang(significance and image),Yijing(sublime state of mind),Xingshen(form and spirit),and critical categories as Zhiyin(resonance and appreciation),Meichou(beauty and ugliness),Quwei(taste and interest),etc.In the new era,facing theory-oriented Western criticism and its constant construction and deconstruction trends,Chinese foreign literary criticism may advance Chinese aesthetic-oriented criticism through following Chinese poetic principles,such as ″the precondition of understanding is knowing the world and the people″,″to perceive meaning through emotion and thought″ and ″Theory of Six Perspectives″.In terms of critical methodology,a thorough examination of the Western ingrained ″definition-analysis″ critical model reveals its method as follows:to take certain influential and generally accepted theory as reference,to regard conceptual definition as presupposed hypothesis,and to extract abstract concept through analyzing the text.Chinese foreign literary criticism follows the ″holistic approach″ of Chinese poetics,which comprehends literary works intuitively from subjective perspectives,and to seize the insight into the spirit of life based on the unification of the thing and the self.The current creative literary theories in China are mostly based on Chinese holistic approaches as follows:the modernization of Chinese poetics,the breakthrough of Western theories by means of Sino-Western theoretical dialogues,and extensive cosmopolitan,comparative and transnational critical approaches.
Since the implement of Reform and Opening-up policy 40 years ago,Chinese researchers on foreign literatures have introduced and absorbed Western literary theories,critical approaches and research viewpoints abundantly,and have witnessed a rapid development in the Chinese foreign literature criticism,which makes possible the formation and enhancement of Chinese critical position,modes and theories in this field.The development trends of Chinese literary criticism in the New Era will be examined from three perspectives,namely,positions,orientations and methodologies.In terms of critical position,Chinese criticism is in a new stage of ″adhering to ourselves and benefiting for our own use″,which means that our criticism will follow the principles of ″Chinese mode of thinking″ and ″dialogue-innovation″.The former refers to an adherence to Chinese xiang(image) thinking pattern,which is characterized by an integral,correlative,complementary and dynamic thinking way based on the unity of nature and human beings and that of subject and object.The latter indicates an effort to unify China and the West,to be more specific,to blend Chinese holistic vision with Western rational analysis,and to fuse perception of soul with an analysis of things in order to interconnect aesthetic comprehension with rational cognition.In terms of the critical orientation,firstly we need to recognize that the difference between Western dominant epistemological criticism and Chinese dominant aesthetic criticism is that the former regards critical object as a ″thing″ to be analyzed rationally so as to deduce and verify general truth,in other words,it begins with a theoretical hypothesis,and its rational analysis leads to an ultimate verification or amendment of the hypothesis,the latter considers critical object as ″soul″ to be comprehended by the critic so that he may experience communication,resonance and insight in the literary work,in other words,it starts from the intersection of life perception between the critic and the literary works,and the critic’s holistic vision of the work leads to the disclosure of insight into life and artistic beauty.Secondly,we shall grasp the sameness and the differences between Western marginalized aesthetic criticism and Chinese dominant aesthetic criticism.The sameness is that both define criticism as an aesthetic experience. And the difference is that Western aesthetic criticism emphasizes inner life exploration by means of imagination,judgement and learning,while Chinese aesthetic criticism stresses the disclosure of both insight into life and artistic form,which has established writing categories as Shensi(spirit and imagination),Xujing(emptiness and serenity),Miaowu(transcendental epiphany),Xushi(fiction and truth),formal categories as Qingzhi(emotion and thought),Wenzhi(expression and quality),Yixiang(significance and image),Yijing(sublime state of mind),Xingshen(form and spirit),and critical categories as Zhiyin(resonance and appreciation),Meichou(beauty and ugliness),Quwei(taste and interest),etc.In the new era,facing theory-oriented Western criticism and its constant construction and deconstruction trends,Chinese foreign literary criticism may advance Chinese aesthetic-oriented criticism through following Chinese poetic principles,such as ″the precondition of understanding is knowing the world and the people″,″to perceive meaning through emotion and thought″ and ″Theory of Six Perspectives″.In terms of critical methodology,a thorough examination of the Western ingrained ″definition-analysis″ critical model reveals its method as follows:to take certain influential and generally accepted theory as reference,to regard conceptual definition as presupposed hypothesis,and to extract abstract concept through analyzing the text.Chinese foreign literary criticism follows the ″holistic approach″ of Chinese poetics,which comprehends literary works intuitively from subjective perspectives,and to seize the insight into the spirit of life based on the unification of the thing and the self.The current creative literary theories in China are mostly based on Chinese holistic approaches as follows:the modernization of Chinese poetics,the breakthrough of Western theories by means of Sino-Western theoretical dialogues,and extensive cosmopolitan,comparative and transnational critical approaches.
引文
[1]吴元迈:《回顾与思考——新中国外国文学研究50年》,《外国文学研究》2000年第1期,第1-13页。[Wu Yuanmai,″Review and Critique:Foreign Literature Studies over the Past 50 Years,″Foreign Literature Studies,No.1(2000),pp.1-13.]
[2]陈众议:《外国文学翻译与研究60年》,《中国翻译》2009年第6期,第13-19页。[Chen Zhongyi,″A Review of Foreign Literary Translation and Research over the Past 60Years,″Chinese Translators Journal,No.6(2009),pp.13-19.]
[3]鲁迅:《鲁迅全集》第1卷,北京:人民出版社,1981年。[Lu Xun,The Complete Works of Lu Xun:Vol.1,Beijing:People’s Publishing House,1981.]
[4]蒋承勇:《世界主义、文化互渗与比较文学》,《外语与外语教学》2018年第1期,第135-140页。[Jiang Chengyong,″Cosmopolitanism, Culture and Comparative Literature,″Foreign Languages and Their Teaching,No.1(2018),pp.135-140.]
[5]高奋:《吸收借鉴国外优秀文化成果之立场、方法和视野》,《中国出版》2013年第1期,第24-26页。[Gao Fen,″The Standpoint,Method and Vision of Absorbing Foreign Excellent Cultural Achievements,″China Publishing Journal,No.1(2013),pp.24-26.]
[6]麻天祥:《中国禅宗思想史略》,北京:中国人民大学出版社,2007年。[Ma Tianxiang,A Brief History of Chinese Chan,Beijing:China Renmin University Press,2007.]
[7]王南湜:《中西思维方式的差异及其意蕴析论》,《天津社会科学》2011年第5期,第43-52页。[Wang Nanshi,″Differences Between Chinese and Western Ways of Thinking and Their Implications,″Tianjin Social Sciences,No.5(2011),pp.43-52.]
[8]Culler J.,Literary Theory:A Very Short Introduction,Oxford:Oxford University Press,1997.
[9][古希腊]柏拉图:《斐德若——论修辞术》,见朱光潜:《朱光潜全集》第12卷,合肥:安徽教育出版社,1991年,第80-153页。[Plato,″Phaedrus:On Rhetoric,″in Zhu Guangqian,Complete Works of Zhu Guangqian:Vol.12,Hefei:Anhui Education Press,1991,pp.80-153.]
[10]Abrams M.H.,A Glossary of Literary Terms(7th Edition),Beijing:Foreign Language Teaching and Research Press,2004.
[11][美]洛伊斯·泰森:《“寻找,你就会得到”……然后又失去:〈了不起的盖茨比〉的结构主义解读》,范圣宇译,见张中载、赵国新编:《文本·文论——英美文学名著重读》,北京:外语教学与研究出版社,2004年,第11-21页。[Tyson L.,″′Looking for,and You’ll Get′...and then Lose:A Structuralist Reading of The Great Gatsby,″trans.by Fan Shengyu,in Zhang Zhongzai &Zhao Guoxin(eds.),Text,Theory:Rereading British and American Literary Classics,Beijing:Foreign Language Teaching and Research Press,2004,pp.11-21.]
[12]Miller J.H.,″Mrs.Dalloway:Repetition as the Raising of the Dead,″in Beja M.(ed.),Critical Essays on Virginia Woolf,Boston:G.K.Hall &Co.,1985,pp.53-72.
[13][德]鲍姆嘉通:《美学》,简明、王旭晓译,北京:文化艺术出版社,1987年。[Baumgarten A.G.,Aesthetic,trans.by Jian Ming &Wang Xuxiao,Beijing:Culture and Art Publishing House,1987.]
[14][德]康德:《判断力批判》,邓晓芒译,北京:人民出版社,2002年。[Kant I.,Critique of the Power of Judgment,trans.by Deng Xiaomang,Beijing:People’s Publishing House,2002.]
[15]Coleridge S.T.,Lectures and Notes on Shakespeare and Other English Poets,London:George Bell and Sons,1884.
[16][英]马修·阿诺德:《当代批评的功能》,见伍蠡甫主编:《西方文论选》下卷,上海:上海译文出版社,1979年,第76-82页。[Arnold M.,″The Function of Criticism at the Present Time,″in Wu Lifu(ed.),Selection of Western Literary Theories(Ⅱ),Shanghai:Shanghai Translation Publishing House,1979,pp.76-82.]
[17][英]瓦尔特·佩特:《文艺复兴:艺术与诗的研究》,张岩冰译,桂林:广西师范大学出版社,2002年。[Pater W.,The Renaissance:Studies in Art and Poetry,trans.by Zhang Yanbing,Guilin:Guangxi Normal University Press,2002.]
[18][英]华兹华斯:《〈抒情诗歌谣〉序言及附录》,见中国社会科学院文学研究所编:《古典文艺理论译丛》卷一,北京:知识产权出版社,2010年,第3-46页。[Wordsworth W.,″Preface to Lyrical Ballads,″in Institute of Literature,Chinese Academy of Social Sciences(ed.),Collected Translations of Classical Literary Theories:Vol.1,Beijing:Intellectual Property Publishing House,2010,pp.3-46.]
[19]Woolf V.,″How Should One Read a Book?″in The Common Reader(Second Series),London:The Hogarth Press,1959,pp.258-270.
[20]Woolf V.,″Defoe,″in McNeillie A.(ed.),The Essays of Virginia Woolf:Vol.4,London:The Hogarth Press,1992,pp.104-106.
[21]Woolf V.,″Jane Austen,″in McNeillie A.(ed.),The Essays of Virginia Woolf:Vol.4,London:The Hogarth Press,1992,pp.149-153.
[22]Woolf V.,″′Jane Eyre′and′Wuthering Heights′,″in McNeillie A.(ed.),The Essays of Virginia Woolf:Vol.4,London:The Hogarth Press,1992,pp.168-173.
[23][法]阿尔贝·蒂博代:《六说文学批评》,赵坚译,北京:生活·读书·新知三联书店,2002年。[Thibaudet A.,On Literary Criticism(Physiologie De La Critique),trans.by Zhao Jian,Beijing:SDX Publishing Company,2002.]
[24]刘勰:《文心雕龙》,周振甫注译,北京:中华书局,1986年。[Liu Xie,Carving a Dragon at the Core of Literature,trans.by Zhou Zhenfu,Beijing:Zhonghua Book Company,1986.]
[25]钟嵘:《诗品》,见张寅彭编:《中国诗学专著选读》,桂林:广西师范大学出版社,2006年。[Zhong Rong,Shipin,in Zhang Yinpeng(ed.),Selected Books of Chinese Poetics,Guilin:Guangxi Normal University Press,2006.]
[26]施耐庵:《金圣叹批评本水浒传》,长沙:岳麓书社,2015年。[Shi Naian,Outlaws of the Marsh:Jin Shengtan Criticism Version,Changsha:Yuelu Press,2015.]
[27]朱光潜:《朱光潜全集》第3卷,合肥:安徽教育出版社,1987年。[Zhu Guangqian,The Complete Works of Zhu Guangqian:Vol.3,Hefei:Anhui Education Publishing House,1987.]
[28][美]叶维廉:《史蒂文斯诗中的“物自性”》,《华文文学》2011年第3期,第7-16页。[Ye Weilian,″′Thing Itself′in Wallace Stevens’Poetry,″Chinese Literature,No.3(2011),pp.7-16.]
[29][美]叶维廉:《中国诗学》,北京:人民文学出版社,2006年。[Ye Weilian,Chinese Poetics,Beijing:People’s Literature Publishing House,2006.]
[30][法]让·贝西埃等主编:《诗学史》,史忠义译,天津:百花文艺出版社,2001年。[Bessiere J.et al.(eds.),The History of Poetics,trans.by Shi Zhongyi,Tianjin:Baihua Literature and Art Publishing House,2001.]
[31]聂珍钊:《文学伦理学批评导论》,北京:北京大学出版社,2014年。[Nie Zhenzhao,An Introduction to Ethical Literary Criticism,Beijing:Peking University Press,2014.]
(1)“文为活物”“法须活法”“美在虚空”“眼照古人”这四点是学者龚鹏程对中国传统批评法则的总结。详见龚鹏程《中国文学批评史论》,(北京)北京大学出版社2008年版,第169-181页。
[2]陈众议:《外国文学翻译与研究60年》,《中国翻译》2009年第6期,第13-19页。[Chen Zhongyi,″A Review of Foreign Literary Translation and Research over the Past 60Years,″Chinese Translators Journal,No.6(2009),pp.13-19.]
[3]鲁迅:《鲁迅全集》第1卷,北京:人民出版社,1981年。[Lu Xun,The Complete Works of Lu Xun:Vol.1,Beijing:People’s Publishing House,1981.]
[4]蒋承勇:《世界主义、文化互渗与比较文学》,《外语与外语教学》2018年第1期,第135-140页。[Jiang Chengyong,″Cosmopolitanism, Culture and Comparative Literature,″Foreign Languages and Their Teaching,No.1(2018),pp.135-140.]
[5]高奋:《吸收借鉴国外优秀文化成果之立场、方法和视野》,《中国出版》2013年第1期,第24-26页。[Gao Fen,″The Standpoint,Method and Vision of Absorbing Foreign Excellent Cultural Achievements,″China Publishing Journal,No.1(2013),pp.24-26.]
[6]麻天祥:《中国禅宗思想史略》,北京:中国人民大学出版社,2007年。[Ma Tianxiang,A Brief History of Chinese Chan,Beijing:China Renmin University Press,2007.]
[7]王南湜:《中西思维方式的差异及其意蕴析论》,《天津社会科学》2011年第5期,第43-52页。[Wang Nanshi,″Differences Between Chinese and Western Ways of Thinking and Their Implications,″Tianjin Social Sciences,No.5(2011),pp.43-52.]
[8]Culler J.,Literary Theory:A Very Short Introduction,Oxford:Oxford University Press,1997.
[9][古希腊]柏拉图:《斐德若——论修辞术》,见朱光潜:《朱光潜全集》第12卷,合肥:安徽教育出版社,1991年,第80-153页。[Plato,″Phaedrus:On Rhetoric,″in Zhu Guangqian,Complete Works of Zhu Guangqian:Vol.12,Hefei:Anhui Education Press,1991,pp.80-153.]
[10]Abrams M.H.,A Glossary of Literary Terms(7th Edition),Beijing:Foreign Language Teaching and Research Press,2004.
[11][美]洛伊斯·泰森:《“寻找,你就会得到”……然后又失去:〈了不起的盖茨比〉的结构主义解读》,范圣宇译,见张中载、赵国新编:《文本·文论——英美文学名著重读》,北京:外语教学与研究出版社,2004年,第11-21页。[Tyson L.,″′Looking for,and You’ll Get′...and then Lose:A Structuralist Reading of The Great Gatsby,″trans.by Fan Shengyu,in Zhang Zhongzai &Zhao Guoxin(eds.),Text,Theory:Rereading British and American Literary Classics,Beijing:Foreign Language Teaching and Research Press,2004,pp.11-21.]
[12]Miller J.H.,″Mrs.Dalloway:Repetition as the Raising of the Dead,″in Beja M.(ed.),Critical Essays on Virginia Woolf,Boston:G.K.Hall &Co.,1985,pp.53-72.
[13][德]鲍姆嘉通:《美学》,简明、王旭晓译,北京:文化艺术出版社,1987年。[Baumgarten A.G.,Aesthetic,trans.by Jian Ming &Wang Xuxiao,Beijing:Culture and Art Publishing House,1987.]
[14][德]康德:《判断力批判》,邓晓芒译,北京:人民出版社,2002年。[Kant I.,Critique of the Power of Judgment,trans.by Deng Xiaomang,Beijing:People’s Publishing House,2002.]
[15]Coleridge S.T.,Lectures and Notes on Shakespeare and Other English Poets,London:George Bell and Sons,1884.
[16][英]马修·阿诺德:《当代批评的功能》,见伍蠡甫主编:《西方文论选》下卷,上海:上海译文出版社,1979年,第76-82页。[Arnold M.,″The Function of Criticism at the Present Time,″in Wu Lifu(ed.),Selection of Western Literary Theories(Ⅱ),Shanghai:Shanghai Translation Publishing House,1979,pp.76-82.]
[17][英]瓦尔特·佩特:《文艺复兴:艺术与诗的研究》,张岩冰译,桂林:广西师范大学出版社,2002年。[Pater W.,The Renaissance:Studies in Art and Poetry,trans.by Zhang Yanbing,Guilin:Guangxi Normal University Press,2002.]
[18][英]华兹华斯:《〈抒情诗歌谣〉序言及附录》,见中国社会科学院文学研究所编:《古典文艺理论译丛》卷一,北京:知识产权出版社,2010年,第3-46页。[Wordsworth W.,″Preface to Lyrical Ballads,″in Institute of Literature,Chinese Academy of Social Sciences(ed.),Collected Translations of Classical Literary Theories:Vol.1,Beijing:Intellectual Property Publishing House,2010,pp.3-46.]
[19]Woolf V.,″How Should One Read a Book?″in The Common Reader(Second Series),London:The Hogarth Press,1959,pp.258-270.
[20]Woolf V.,″Defoe,″in McNeillie A.(ed.),The Essays of Virginia Woolf:Vol.4,London:The Hogarth Press,1992,pp.104-106.
[21]Woolf V.,″Jane Austen,″in McNeillie A.(ed.),The Essays of Virginia Woolf:Vol.4,London:The Hogarth Press,1992,pp.149-153.
[22]Woolf V.,″′Jane Eyre′and′Wuthering Heights′,″in McNeillie A.(ed.),The Essays of Virginia Woolf:Vol.4,London:The Hogarth Press,1992,pp.168-173.
[23][法]阿尔贝·蒂博代:《六说文学批评》,赵坚译,北京:生活·读书·新知三联书店,2002年。[Thibaudet A.,On Literary Criticism(Physiologie De La Critique),trans.by Zhao Jian,Beijing:SDX Publishing Company,2002.]
[24]刘勰:《文心雕龙》,周振甫注译,北京:中华书局,1986年。[Liu Xie,Carving a Dragon at the Core of Literature,trans.by Zhou Zhenfu,Beijing:Zhonghua Book Company,1986.]
[25]钟嵘:《诗品》,见张寅彭编:《中国诗学专著选读》,桂林:广西师范大学出版社,2006年。[Zhong Rong,Shipin,in Zhang Yinpeng(ed.),Selected Books of Chinese Poetics,Guilin:Guangxi Normal University Press,2006.]
[26]施耐庵:《金圣叹批评本水浒传》,长沙:岳麓书社,2015年。[Shi Naian,Outlaws of the Marsh:Jin Shengtan Criticism Version,Changsha:Yuelu Press,2015.]
[27]朱光潜:《朱光潜全集》第3卷,合肥:安徽教育出版社,1987年。[Zhu Guangqian,The Complete Works of Zhu Guangqian:Vol.3,Hefei:Anhui Education Publishing House,1987.]
[28][美]叶维廉:《史蒂文斯诗中的“物自性”》,《华文文学》2011年第3期,第7-16页。[Ye Weilian,″′Thing Itself′in Wallace Stevens’Poetry,″Chinese Literature,No.3(2011),pp.7-16.]
[29][美]叶维廉:《中国诗学》,北京:人民文学出版社,2006年。[Ye Weilian,Chinese Poetics,Beijing:People’s Literature Publishing House,2006.]
[30][法]让·贝西埃等主编:《诗学史》,史忠义译,天津:百花文艺出版社,2001年。[Bessiere J.et al.(eds.),The History of Poetics,trans.by Shi Zhongyi,Tianjin:Baihua Literature and Art Publishing House,2001.]
[31]聂珍钊:《文学伦理学批评导论》,北京:北京大学出版社,2014年。[Nie Zhenzhao,An Introduction to Ethical Literary Criticism,Beijing:Peking University Press,2014.]
(1)“文为活物”“法须活法”“美在虚空”“眼照古人”这四点是学者龚鹏程对中国传统批评法则的总结。详见龚鹏程《中国文学批评史论》,(北京)北京大学出版社2008年版,第169-181页。
© 2004-2018 中国地质图书馆版权所有 京ICP备05064691号 京公网安备11010802017129号 地址：北京市海淀区学院路29号 邮编：100083 电话：办公室：(+86 10)66554848；文献借阅、咨询服务、科技查新：66554700 |