《斩首之邀》中反美学的艺术救赎
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摘要
纳博科夫一反"艺术真实""和谐"等传统美学范畴,在《斩首之邀》这部小说中,以愚蠢野蛮的闹剧形式刻画出一个抽象诡秘的社会缩影,充满着荒诞、丑陋和残酷。纳氏以荒诞的艺术呼唤理性,以丑的艺术抗议虚假现实,以否定的艺术挽救人性。作品中的抽象性、丑陋性和否定性旨在批判这个畸形、罪恶的世界,唤醒人们对善和自由的渴望。在无力的绝望中,唯有艺术批判才能为解放主体,拯救人性带来希望。
Nabokov dismisses traditional aesthetic features like "artistic reality" and"harmony" and in Invitation to a Beheading,he presents a stupid and savage farce to portray an abstract and grotesque social microcosm. With the development from instrumental rationality society to an irrational modern society,it is full of absurdity,ugliness and cruelty. Nabokov calls for rationality with absurdity,protests virtual and distorted reality with ugliness,and saves humanity with denial. His art of abstractness,ugliness and denial aim to criticize this distorted and sinful world and awaken people's expectations for goodness and freedom. In the powerless desperation,only artistic criticism can bring hope to the liberation of the subjects and the salvation of humanity.
Nabokov dismisses traditional aesthetic features like "artistic reality" and"harmony" and in Invitation to a Beheading,he presents a stupid and savage farce to portray an abstract and grotesque social microcosm. With the development from instrumental rationality society to an irrational modern society,it is full of absurdity,ugliness and cruelty. Nabokov calls for rationality with absurdity,protests virtual and distorted reality with ugliness,and saves humanity with denial. His art of abstractness,ugliness and denial aim to criticize this distorted and sinful world and awaken people's expectations for goodness and freedom. In the powerless desperation,only artistic criticism can bring hope to the liberation of the subjects and the salvation of humanity.
引文
[1]王安.《斩首之邀》中的诺斯替主义[J].俄罗斯文艺,2007(4):35.
[2]纳博科夫.斩首之邀[M].陈安全,译.上海:上海译文出版社,2013.
[3]托马斯·曼.从我们的体验看尼采哲学[M]//人类困境中的审美精神.刘小枫,译.北京:知识出版社,1994:327.
[4]张介明.荒诞:文学进化的现代成果[J].上海师范大学学报,2005(4):83.
[5]赵东甡.西方现代派文学与艺术[M].长春:时代文艺出版社,1986:40.
[6]卢卡奇.历史与阶级意识:关于马克思辩证法的研究[M].北京:商务印书馆,1992:19.
[7]吕迪格尔·萨弗兰斯基.海德格尔传[M].靳希平,译.北京:商务印书馆,1999:506.
[8]杨小滨.否定的美学[M].上海:三联书店,1999:154.
[9]张法.美学导论[M].北京:中国人民大学出版社,1999:111.
[10]朱立元.当代西方文艺理论[M].上海:华东师范大学出版社,2014.
[11]阿多诺.美学理论[M].王柯平,译.成都:四川人民出版社,1998:84.
[12]蒋孔阳,朱立元.西方美学通史:第7卷[M].上海:上海文艺出版社,1999:511.
[13]马克思·霍克海默,西奥多·阿多诺.启蒙辩证法:哲学断片[M].渠敬东,曹卫东,译.上海:上海人民出版社,2006:140.
[14]伍蠡甫,胡经.西方文艺理论选编[M].北京:北京大学出版社,1987:720.
[15]俞吾金,陈学明.国外马克思主义哲学流派新编:西方马克思主义卷[M].上海:复旦大学出版社,2002:178.
[16]让·布洛.蝴蝶与洛丽塔:纳博科夫传[M].云龙,译.上海:上海人民出版社,2010:12.
[17]LAWRENCE L.Vladimir Nabokov[M].Boston:Twayne Publishers,1976:153.
[18]阿多诺.否定的辩证法[M].张峰,译.重庆:重庆出版社,1993:15.
[2]纳博科夫.斩首之邀[M].陈安全,译.上海:上海译文出版社,2013.
[3]托马斯·曼.从我们的体验看尼采哲学[M]//人类困境中的审美精神.刘小枫,译.北京:知识出版社,1994:327.
[4]张介明.荒诞:文学进化的现代成果[J].上海师范大学学报,2005(4):83.
[5]赵东甡.西方现代派文学与艺术[M].长春:时代文艺出版社,1986:40.
[6]卢卡奇.历史与阶级意识:关于马克思辩证法的研究[M].北京:商务印书馆,1992:19.
[7]吕迪格尔·萨弗兰斯基.海德格尔传[M].靳希平,译.北京:商务印书馆,1999:506.
[8]杨小滨.否定的美学[M].上海:三联书店,1999:154.
[9]张法.美学导论[M].北京:中国人民大学出版社,1999:111.
[10]朱立元.当代西方文艺理论[M].上海:华东师范大学出版社,2014.
[11]阿多诺.美学理论[M].王柯平,译.成都:四川人民出版社,1998:84.
[12]蒋孔阳,朱立元.西方美学通史:第7卷[M].上海:上海文艺出版社,1999:511.
[13]马克思·霍克海默,西奥多·阿多诺.启蒙辩证法:哲学断片[M].渠敬东,曹卫东,译.上海:上海人民出版社,2006:140.
[14]伍蠡甫,胡经.西方文艺理论选编[M].北京:北京大学出版社,1987:720.
[15]俞吾金,陈学明.国外马克思主义哲学流派新编:西方马克思主义卷[M].上海:复旦大学出版社,2002:178.
[16]让·布洛.蝴蝶与洛丽塔:纳博科夫传[M].云龙,译.上海:上海人民出版社,2010:12.
[17]LAWRENCE L.Vladimir Nabokov[M].Boston:Twayne Publishers,1976:153.
[18]阿多诺.否定的辩证法[M].张峰,译.重庆:重庆出版社,1993:15.