“屏”之“显现”——自然主义与西方现代文学本体论的重构
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摘要
作为其一生文学思想的起点,左拉针对文学再现之真实性问题所提出的"屏幕说",与其后来作为自然主义文学理论家所提出的"真实感""个性表现"等重大理论主张息息相通。作为对摹仿现实主义之"镜"的扬弃与浪漫主义之"灯"的矫正,"屏幕说"所开启的文学"显现论"拒绝以二元对立的思维模式来理解作家与世界的关系,坚持文学只能是在世界中的人对其在与世界交合境遇中的个人体验的直呈。既是人的自我显现,又是世界在人之显现中的显现,既反对浪漫主义的极端"表现",又否认"再现"能达成绝对的真实,显现论不惟达成了对再现论与表现论所代表着的本质主义诗学的颠覆,而且汲取"再现"与"表现"各自的合理成分,实现了两者的融合;这种融合在本质上乃是一种新质的诞生而非旧质的简单叠加,显现论完成了西方现代文学本体论的重构。
As the starting point of his literary thoughts, Emile Zola's "Screen Theory" raised for the question of the authenticity of literary representation is closely related to some major theoretical claims such as "the Sense of the Real" and "Expression of Personality," which were later put forward by him as a naturalist literary theorist. As the sublation of "the Mirror" of Mimetic Realism and the rectification of "the Lamp" of Romanticism, "Epiphany Theory" ushered in by "Screen Theory" refuses to understand the relationship between the writer and the world in a binary oppositional mode of thinking, insisting that literature can only be the "direct manifestation" of the personal experience of the human in the world in his encounter with the world. Epiphany refers to not only the epiphany of the man, but also the epiphany of the world in the epiphany of the man. It not only rejects the extreme expressiveness of Romanticism but also denies that Representation can achieve absolute truth. Therefore, "Epiphany Theory" has not only achieved its subversion of the Essentialist Poetics represented by the "Representation Theory" and the "Expression Theory," but also acquired the respective reasonable components of these two theories so as to achieve the fusion of them. This kind of fusion is essentially the birth of a new theory rather than simple superimposition of old qualities. "Epiphany Theory" thereby completes the reconstruction of the ontology of Western modern literature.
As the starting point of his literary thoughts, Emile Zola's "Screen Theory" raised for the question of the authenticity of literary representation is closely related to some major theoretical claims such as "the Sense of the Real" and "Expression of Personality," which were later put forward by him as a naturalist literary theorist. As the sublation of "the Mirror" of Mimetic Realism and the rectification of "the Lamp" of Romanticism, "Epiphany Theory" ushered in by "Screen Theory" refuses to understand the relationship between the writer and the world in a binary oppositional mode of thinking, insisting that literature can only be the "direct manifestation" of the personal experience of the human in the world in his encounter with the world. Epiphany refers to not only the epiphany of the man, but also the epiphany of the world in the epiphany of the man. It not only rejects the extreme expressiveness of Romanticism but also denies that Representation can achieve absolute truth. Therefore, "Epiphany Theory" has not only achieved its subversion of the Essentialist Poetics represented by the "Representation Theory" and the "Expression Theory," but also acquired the respective reasonable components of these two theories so as to achieve the fusion of them. This kind of fusion is essentially the birth of a new theory rather than simple superimposition of old qualities. "Epiphany Theory" thereby completes the reconstruction of the ontology of Western modern literature.
引文
Taylor,Charles.Sources of the Self:The Making of the Modern Identity.Cambridge:Harvard UP,1989.
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鲍桑葵:《美学三讲》,周熙良译。上海:上海译文出版社,1983。[Basanquet,Bernard.Three Lectures on Aesthetic.Trans.Zhou Xiliang.Shanghai:Shanghai Translation,1983.]
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冈布里奇:《艺术与幻觉:绘画再现的心理研究》,周彦译。长沙:湖南人民出版社,1987。[Gombrich,E.H.Art and Illusion:A Study in the Psychology of Pictorial Representation.Trans.Zhou Yan.Changsha:Hunan People’s,1987.]
华兹华斯:《〈抒情歌谣集〉一八〇〇年版序言》,载吴蠡甫主编《西方文论选》卷2(上海:上海译文出版社,1979),第4-17页。[Wordsworth,William.“Preface to Lyrical Ballads(1800)”.Selected Papers on Western Literary Theories.Vol.2.Ed.Wu Lifu.Shanghai:Shanghai Translation,1979.4-17.]
霍克斯:《结构主义和符号学》,瞿铁鹏译。上海:上海译文出版社,1987。[Hawkes,Terence.Structuralism and Semiotics.Trans.Qu Tiepeng.Shanghai:Shanghai Translation,1987.]
加洛蒂:《论无边的现实主义》,吴岳添译。上海:上海文艺出版社,1986。[Garaudy,Roger.Realism without Borders.Trans.Wu Yuetian.Shanghai:Shanghai Literature and Art,1986.]
科林伍德:《艺术原理》,王至元、陈华中译。北京:中国社会科学出版社,1985。[Collingwood,R.G.The Principles of Art.Trans.Wang Zhiyuan and Chen Huazhong.Beijing:China Social Sciences,1985.]
马尔库塞:《审美之维》,李小兵译。桂林:广西师范大学出版社,2001。[Marcuse,Herbert.The Aesthetic Dimension.Trans.Li Xiaobing.Guilin:Guangxi Normal UP,2001.]
莫泊桑:《爱弥尔·左拉》,载朱雯等编《文学中的自然主义》,第359-75页。[Maupassant,Henri RenéAlbert Guy de.“Emile Zola.”Naturalism in Literature.Ed.Zhu Wen et al.359-75.]
莫泊桑:《论小说》,载王振孙译《漂亮朋友》(上海:上海译文出版社,1993),第585-86页。[Maupassant,Henri RenéAlbert Guy de.“On the Novel.”Apendix to Bel Ami.Trans.Wang Zhensun.Shanghai:Shanghai Translation,1993.585-86.]
莫泊桑:《〈皮埃尔与若望〉序》,载柳鸣九编《法国自然主义作品选》(天津:天津人民出版社,1987),第793-807页。[Maupassant,Henri RenéAlbert Guy de.“Preface to Pierre and Jean.”Selected Works of French Naturalism.Ed.Liu Mingjiu.Tianjin:Tianjin People’s,1987.793-807.]
马新国主编:《西方文论史》。北京:高等教育出版社,2002。[Ma,Xinguo,ed.A History of Western Literary Theory.Beijing:Higher Education,2002.]
诺维科夫:《泰纳的“植物学美学”》,载朱雯等编《文学中的自然主义》,第59-85页。[Novikov.“Taine’s‘Botanical aesthetics.’”Naturalism in Literature.Ed.Zhu Wen,et al.59-85.]
什克洛夫斯基:《作为手法的艺术》,载方珊等译《俄国形式主义文论选》(北京:三联书店,1989),第1-10页。[Shklovsky,Victor.“Art as Technique.”An Anthology of Russian Formalism Literary Theory.Trans.Fang Shan et al.Beijing:SDX Joint,1989.1-10.]
左拉:《给安托尼·瓦拉布雷格的信》,载朱雯等编《文学中的自然主义》,第263-73页。[Zola,Emile.“Aletter to Anthony Valabregue.”Naturalism in Literature.Ed.Zhu Wen et al.263-73.]
左拉:《论小说》,载朱雯等编《文学中的自然主义》,第205-62页。[Zola,Emile.“The Novel.”Naturalism in Literature.Ed.Zhu Wen et al.205-62.]
左拉:《致居斯塔夫·福楼拜》,载吴岳添译《左拉文学书简》(合肥:安徽文艺出版社,1995),第97-117页。[Zola,Emile.“To Gustave Flaubert.”Literary Letters by Zola.Trans.Wu Yuetian.Hefei:Anhui Literature and Art,1995.97-117.]
朱雯等编:《文学中的自然主义》。上海:上海文艺出版社,1992。[Zhu,Wen,et al.,eds.Naturalism in Literature.Shanghai:Shanghai Literature and Art,1992.]
Zola,Emile.“Naturalism in the Theatre.”Documents of Modern Literary Realism.Ed.George J.Becker.Princeton:Princeton UP,1963.197-229.
奥尔巴赫:《摹仿论:西方文学中所描绘的现实》,吴麟绶等译。天津:百花文艺出版社,2002。[Auerbach,Erich.Mimesis:The Representation of Reality in Western Literature.Trans.Wu Linshou,et al.Tianjin:Baihua Literature and Art,2002.]
鲍桑葵:《美学三讲》,周熙良译。上海:上海译文出版社,1983。[Basanquet,Bernard.Three Lectures on Aesthetic.Trans.Zhou Xiliang.Shanghai:Shanghai Translation,1983.]
比格尔:《先锋派理论》,高建平译。北京:商务印书馆,2002。[Burger,Peter.Theory of the Avant-Garde.Trans.Gao Jianping.Beijing:Commercial,2002.]
波德莱尔:《一八五九年沙龙》,载吴蠡甫主编《西方文论选》卷2(上海:上海译文出版社,1979),第220-22页。[Baudelaire,Charles.“The Salon of 1859.”Selected Papers on Western Literary Theories.Vol.2.Ed.Wu Lifu.Shanghai:Shanghai Translation,1979.220-22.]
布瓦洛:《诗的艺术》,任典译。北京:人民文学出版社,1959。[Boileau,Nicolas.The Art of Poetry.Trans.Ren Dian.Beijing:People’s Literature,1959.]
杜威:《艺术即经验》,高建平译。北京:商务印书馆,2005。[Dewey,John.Art as Experience.Trans.Gao Jianping.Beijing:Commercial,2005.]
福克纳:《现代主义》,付礼军译。北京:昆仑出版社,1989。[Faulkner,Peter.Modernism.Trans.Fu Lijun.Beijing:Kunlun,1989.]
冈布里奇:《艺术与幻觉:绘画再现的心理研究》,周彦译。长沙:湖南人民出版社,1987。[Gombrich,E.H.Art and Illusion:A Study in the Psychology of Pictorial Representation.Trans.Zhou Yan.Changsha:Hunan People’s,1987.]
华兹华斯:《〈抒情歌谣集〉一八〇〇年版序言》,载吴蠡甫主编《西方文论选》卷2(上海:上海译文出版社,1979),第4-17页。[Wordsworth,William.“Preface to Lyrical Ballads(1800)”.Selected Papers on Western Literary Theories.Vol.2.Ed.Wu Lifu.Shanghai:Shanghai Translation,1979.4-17.]
霍克斯:《结构主义和符号学》,瞿铁鹏译。上海:上海译文出版社,1987。[Hawkes,Terence.Structuralism and Semiotics.Trans.Qu Tiepeng.Shanghai:Shanghai Translation,1987.]
加洛蒂:《论无边的现实主义》,吴岳添译。上海:上海文艺出版社,1986。[Garaudy,Roger.Realism without Borders.Trans.Wu Yuetian.Shanghai:Shanghai Literature and Art,1986.]
科林伍德:《艺术原理》,王至元、陈华中译。北京:中国社会科学出版社,1985。[Collingwood,R.G.The Principles of Art.Trans.Wang Zhiyuan and Chen Huazhong.Beijing:China Social Sciences,1985.]
马尔库塞:《审美之维》,李小兵译。桂林:广西师范大学出版社,2001。[Marcuse,Herbert.The Aesthetic Dimension.Trans.Li Xiaobing.Guilin:Guangxi Normal UP,2001.]
莫泊桑:《爱弥尔·左拉》,载朱雯等编《文学中的自然主义》,第359-75页。[Maupassant,Henri RenéAlbert Guy de.“Emile Zola.”Naturalism in Literature.Ed.Zhu Wen et al.359-75.]
莫泊桑:《论小说》,载王振孙译《漂亮朋友》(上海:上海译文出版社,1993),第585-86页。[Maupassant,Henri RenéAlbert Guy de.“On the Novel.”Apendix to Bel Ami.Trans.Wang Zhensun.Shanghai:Shanghai Translation,1993.585-86.]
莫泊桑:《〈皮埃尔与若望〉序》,载柳鸣九编《法国自然主义作品选》(天津:天津人民出版社,1987),第793-807页。[Maupassant,Henri RenéAlbert Guy de.“Preface to Pierre and Jean.”Selected Works of French Naturalism.Ed.Liu Mingjiu.Tianjin:Tianjin People’s,1987.793-807.]
马新国主编:《西方文论史》。北京:高等教育出版社,2002。[Ma,Xinguo,ed.A History of Western Literary Theory.Beijing:Higher Education,2002.]
诺维科夫:《泰纳的“植物学美学”》,载朱雯等编《文学中的自然主义》,第59-85页。[Novikov.“Taine’s‘Botanical aesthetics.’”Naturalism in Literature.Ed.Zhu Wen,et al.59-85.]
什克洛夫斯基:《作为手法的艺术》,载方珊等译《俄国形式主义文论选》(北京:三联书店,1989),第1-10页。[Shklovsky,Victor.“Art as Technique.”An Anthology of Russian Formalism Literary Theory.Trans.Fang Shan et al.Beijing:SDX Joint,1989.1-10.]
左拉:《给安托尼·瓦拉布雷格的信》,载朱雯等编《文学中的自然主义》,第263-73页。[Zola,Emile.“Aletter to Anthony Valabregue.”Naturalism in Literature.Ed.Zhu Wen et al.263-73.]
左拉:《论小说》,载朱雯等编《文学中的自然主义》,第205-62页。[Zola,Emile.“The Novel.”Naturalism in Literature.Ed.Zhu Wen et al.205-62.]
左拉:《致居斯塔夫·福楼拜》,载吴岳添译《左拉文学书简》(合肥:安徽文艺出版社,1995),第97-117页。[Zola,Emile.“To Gustave Flaubert.”Literary Letters by Zola.Trans.Wu Yuetian.Hefei:Anhui Literature and Art,1995.97-117.]
朱雯等编:《文学中的自然主义》。上海:上海文艺出版社,1992。[Zhu,Wen,et al.,eds.Naturalism in Literature.Shanghai:Shanghai Literature and Art,1992.]