身体何以能够写作

发布时间：2018-03-16 16:17

本文选题：身体　切入点：身体-主体　出处：《学术月刊》2013年06期 　论文类型：期刊论文

【摘要】：迄今为止的创作理论都把心灵视为创作活动的主体,认为身体只是文学创作的对象和工具,就连貌似激进的"身体写作"理论也不例外。这种观点乃是身心二元论思想的产物。从现象学的角度来看,身体而非心灵,才是创作活动的主体,不过这身体不是纯物质的肉体,而是肉体与心灵的统一体,是一种身体—主体。文学创作的基础不是心灵和自我对于世界的认知性观察,而是身体与世界之间的存在性交流。在这种交流中产生的感受和体验,构成了文学创作的题材和内容。在具体的创作活动中,作家通过自己的身体与虚构出的人物进行交流,从而把自身生成、变形为艺术形象。立足于这种身体经验,作家获得了自身的体验表达方式,从而把社会性、公共性的语言,调整、转换为具有自己特定风格的符号体系。
[Abstract]:Up to now, the theory of creation regards the mind as the main body of creative activities, and thinks that the body is only the object and tool of literary creation. Even the seemingly radical theory of "body writing" is no exception. This view is a product of the body and mind dualism. From a phenomenological point of view, the body, not the mind, is the subject of creative activity. But this body is not a pure physical body, but a unity of body and mind, a kind of body-subject. The basis of literary creation is not the cognitive observation of the world by the mind and the self. It is the existential communication between the body and the world. The feelings and experiences generated in this communication constitute the subject matter and content of literary creation. In the specific creative activities, the writer communicates with the fictional characters through his own body. Based on this kind of body experience, the writer obtains his own experience and expression, and then adjusts and transforms the social and public language into a symbolic system with his own specific style.
【作者单位】：浙江大学中文系;
【基金】：教育部人文社会科学跨世纪优秀人才培养计划基金资助的“审美直观与艺术真理”问题研究的中期成果
【分类号】：I04

【参考文献】