基于历史文化的阐释：文化诗学的方法论探究
发布时间：2018-12-17 06:58
【摘要】：格林布拉特称"文化诗学"为"一种实践,而不是一种教义"。文化诗学以其方法论层面的实践性、适应性特征建立起了多元的批评图景。文化诗学强调重构历史文化语境,重视轶闻等非正统历史资料对文本的阐释的重要作用,重新诠释历史碎片中的文化图景。文化诗学具有跨学科的特点,尤其是与文化人类学具有亲缘关系,文化诗学的批评实践中常借鉴人类学的批评方法,其源头可追溯到中国上世纪二三十年代的《诗经》研究。中国比较文学学界提出"跨文化诗学",跨文化的对比研究也是文化诗学批评实践中常运用的方法,叶舒宪先生的"人类学三重证据法"及其"高唐神女"等的批评实践对此有所印证。在《文艺复兴时期的自我塑型》一书中,格林布拉特从创作主体角度提出了"自我塑型",表示作家与文本在社会历史文化的宏大语境中进行的双向建构,这包含两个过程,第一个过程是作家在话语实践中实现主体地位的建构;第二个过程是在文本创作中完成对作家主体的塑型,萧红在其自传性小说《呼兰河传》的创作中实现"自我塑型"。巴赫金提出的"外位性"概念与文化诗学具有共生关系,外位性显示了作者在文学作品诸要素中的所处的特殊地位,为文化诗学的"作者"之维的研究拓展了思路。文化诗学认为文本的概念不仅限于文学范畴之内,而是拓展到存在于一切人类实践活动的文化场域中的社会性文本,巴赫金的狂欢节研究即是典型。文学文本之间及其与社会性文本之间进行广泛互文,莎士比亚的剧作与马洛的作品产生互文,《红楼梦》中的"冷香丸"就是医学文本与文学文本互文的结果。文本与历史之间相互交融,"历史的文本性"与"文本的历史性"是新历史主义文化诗学的重要理论范畴,也是其方法论的切入点,冯内古特的成名作《五号屠场》充分揭示了这两个理论范畴的内涵。社会生活的所有艺术文化文本都蕴含着"惊叹"和"共鸣"的特性,只有通过接收者文化的阐释才能将其诗性品质引发出来。权力话语影响读者的审美内容,以此达到影响读者意识层面的目的,扫罗和大卫王的形象变迁即是由权力话语主导而成。人们道德价值观的转变影响阅读鉴赏活动中接受主体的审美变迁,与此同时文化阐释主体在阅读鉴赏活动时潜移默化地受到文本所蕴含的伦理道德价值的影响,"耽美""百合"等网络小说的流行对此有所印证。文化诗学认为审美体验在读者与文本的双向交流和协调中得以实现,读者在阐释的过程中能够实现文本意义的重建,同一文本,不同读者的阐释也有所不同,针对春晚小品《捐助》的纷争恰与此契合。
[Abstract]:Greenblatt called cultural poetics "a practice, not a doctrine." Cultural poetics, with its practical methodology and adaptability, has set up a pluralistic view of criticism. Cultural poetics emphasizes the reconstruction of historical and cultural context and the important role of unorthodox historical materials such as anecdotes in the interpretation of texts and reinterprets the cultural picture in historical fragments. Cultural poetics has interdisciplinary characteristics, especially related to cultural anthropology. The criticism practice of cultural poetics often draws lessons from the critical methods of anthropology, the origin of which can be traced back to the study of the Book of songs in the 1920s and 1930s in China. The academic circles of Chinese comparative literature put forward "cross-cultural poetics", and cross-cultural comparative study is also a method often used in the practice of cultural poetics criticism. Ye Shuxian's Triple evidence Law of Anthropology and his critical practice of Gods and daughters of Gaotang have confirmed this. In the book "Self-Modification in the Renaissance", Greenblatt puts forward the "self-molding" from the perspective of the creative subject, which means the two-way construction of the writer and the text in the grand context of social history and culture, which includes two processes. The first process is the construction of the subjective position of the writer in the practice of discourse. The second process is to complete the shaping of the writer's main body in the text creation, and Xiao Hong to realize the "self-shaping" in the creation of his autobiographical novel "Hulan River Biography". The concept of "externality" put forward by Bakhtin has a symbiotic relationship with cultural poetics, which shows the special position of the author in the elements of literary works, and expands the thinking of the study of the "author" dimension of cultural poetics. Cultural poetics holds that the concept of text is not confined to the category of literature, but extends to the social text existing in the cultural field of all human practical activities. Bakhtin's Carnival study is typical. There are extensive intertextuals between literary texts and social texts. Shakespeare's plays and Marlowe's works produce intertextuals. "Lengxiang pills" in A Dream of Red Mansions is the result of intertextuality between medical texts and literary texts. Text and history are intermingled with each other. "the textuality of history" and "history of text" are the important theoretical categories of cultural poetics of new historicism and the breakthrough point of its methodology. Vonnegut's famous abattoir No. 5 fully reveals the connotation of these two theoretical categories. All the artistic and cultural texts of social life contain the characteristics of "wonder" and "resonance", which can only be triggered by the interpretation of the recipient's culture. Power discourse influences the aesthetic content of readers to achieve the purpose of influencing readers' consciousness. The image changes of Saul and King David are dominated by power discourse. The change of people's moral values affects the aesthetic changes of the subject in reading appreciation, while the cultural interpretation subject is influenced by the ethical and moral value contained in the text. The popularity of Internet novels such as Daimei and Lilium has confirmed this. Cultural poetics holds that aesthetic experience can be realized in the two-way communication and coordination between the reader and the text, the reader can reconstruct the meaning of the text in the process of interpretation, and different readers have different interpretations of the same text. In view of the Spring Festival Gala essay < donation > dispute is exactly in line with this.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I0
本文编号：2383843
[Abstract]:Greenblatt called cultural poetics "a practice, not a doctrine." Cultural poetics, with its practical methodology and adaptability, has set up a pluralistic view of criticism. Cultural poetics emphasizes the reconstruction of historical and cultural context and the important role of unorthodox historical materials such as anecdotes in the interpretation of texts and reinterprets the cultural picture in historical fragments. Cultural poetics has interdisciplinary characteristics, especially related to cultural anthropology. The criticism practice of cultural poetics often draws lessons from the critical methods of anthropology, the origin of which can be traced back to the study of the Book of songs in the 1920s and 1930s in China. The academic circles of Chinese comparative literature put forward "cross-cultural poetics", and cross-cultural comparative study is also a method often used in the practice of cultural poetics criticism. Ye Shuxian's Triple evidence Law of Anthropology and his critical practice of Gods and daughters of Gaotang have confirmed this. In the book "Self-Modification in the Renaissance", Greenblatt puts forward the "self-molding" from the perspective of the creative subject, which means the two-way construction of the writer and the text in the grand context of social history and culture, which includes two processes. The first process is the construction of the subjective position of the writer in the practice of discourse. The second process is to complete the shaping of the writer's main body in the text creation, and Xiao Hong to realize the "self-shaping" in the creation of his autobiographical novel "Hulan River Biography". The concept of "externality" put forward by Bakhtin has a symbiotic relationship with cultural poetics, which shows the special position of the author in the elements of literary works, and expands the thinking of the study of the "author" dimension of cultural poetics. Cultural poetics holds that the concept of text is not confined to the category of literature, but extends to the social text existing in the cultural field of all human practical activities. Bakhtin's Carnival study is typical. There are extensive intertextuals between literary texts and social texts. Shakespeare's plays and Marlowe's works produce intertextuals. "Lengxiang pills" in A Dream of Red Mansions is the result of intertextuality between medical texts and literary texts. Text and history are intermingled with each other. "the textuality of history" and "history of text" are the important theoretical categories of cultural poetics of new historicism and the breakthrough point of its methodology. Vonnegut's famous abattoir No. 5 fully reveals the connotation of these two theoretical categories. All the artistic and cultural texts of social life contain the characteristics of "wonder" and "resonance", which can only be triggered by the interpretation of the recipient's culture. Power discourse influences the aesthetic content of readers to achieve the purpose of influencing readers' consciousness. The image changes of Saul and King David are dominated by power discourse. The change of people's moral values affects the aesthetic changes of the subject in reading appreciation, while the cultural interpretation subject is influenced by the ethical and moral value contained in the text. The popularity of Internet novels such as Daimei and Lilium has confirmed this. Cultural poetics holds that aesthetic experience can be realized in the two-way communication and coordination between the reader and the text, the reader can reconstruct the meaning of the text in the process of interpretation, and different readers have different interpretations of the same text. In view of the Spring Festival Gala essay < donation > dispute is exactly in line with this.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I0
【参考文献】
相关期刊论文 前10条
1 李琳;;“社会能量”的“流通”、“交换”与“协商”:格林布拉特的新历史主义文艺观新探[J];山东外语教学;2015年01期
2 顾祖钊;;《礼记》尚古遗踪初探——一种文化人类学解读[J];复旦学报(社会科学版);2014年05期
3 张文涛;;文化诗学对话语的权力批判[J];闽南师范大学学报(哲学社会科学版);2014年03期
4 邓京力;;语境与历史之间——作为解释模式与方法论前提的历史语境理论[J];天津社会科学;2013年02期
5 祖国颂;;双向建构:一种文化诗学的阐释策略——以“春晚”小品的争议为例[J];漳州师范学院学报(哲学社会科学版);2012年04期
6 段建军;;巴赫金生存诗学中的“自我”与“他人”[J];福建论坛(人文社会科学版);2011年07期
7 许勤超;;传记写作的互文性解释策略——以格林布拉特的《俗世威尔:莎士比亚是如何成为莎士比亚的》为例[J];连云港师范高等专科学校学报;2010年04期
8 徐岱;龙玉霞;;复调的生成——外位性思想与巴赫金的文化诗学[J];浙江大学学报(人文社会科学版);2010年04期
9 王进;;从文化阐释到历史厚描:文化人类学视域中的文化诗学批评[J];云南社会科学;2010年03期
10 顾祖钊;;文化诗学倡导中的三个问题[J];燕赵学术;2010年01期
相关博士学位论文 前1条
1 傅洁琳;格林布拉特新历史主义与文化诗学研究[D];山东大学;2008年
，本文编号：2383843
本文链接：https://www.wllwen.com/shoufeilunwen/zaizhiboshi/2383843.html
教材专著
