格林布拉特新历史主义与文化诗学研究
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摘要
格林布拉特(Stephen Jay Greenblatt 1943-)首先倡导的新历史主义文化诗学理论如今已经成为当代欧美一个渊源广泛、影响颇深的理论批评流派,并成为当代欧美文学理论的重要组成部分。这一诗学理论主要以跨学科的文本阐释为特点,格林布拉特也被哈佛大学命名为“跨学科人文教授”和“新历史主义之父”。本论文主要在与其它流派、与其它相关理论家的比较分析的基础上,探索格林布拉特的学术渊源,进而力求厘清与阐明格林布拉特新历史主义文化诗学理论的特点,探讨格林布拉特新历史主义文化诗学理论的理论价值。
格林布拉特理论研究隐含着两个层面的观点:其一是断裂的历史观。格林布拉特认为历史不是稳定的,不是确定的,而是一种充满着断裂、偶然、间断的存在,历史是不断构建着的;其二是整体的文化观,这种整体观与历史的断裂性并不矛盾。格林布拉特认为人的本质不是稳定的,而是一种不断塑形的过程,文化是一种系统的“隐喻性”结构,人类的文化是流动的,不断构建着的。本论文主要根据这两个层面对格林布拉特新历史主义文化诗学理论进行分析阐述。从某种角度讲,“新历史主义”更多是指一种理论研究方法,在这种理论努力中,必然将文学文本和非文学文本互相对照阐述,论证与探讨它们在内在结构、隐在的符号化等方面的潜在联系与区别。新历史主义意味着对文学与历史内涵的多重阐释与理论构建。
论文共分八个部分。绪论部分对论文的选题思路、对象范围、选题意义、以及研究文献情况作了简要的说明,也介绍了文章的总体思路和结构安排。
论文第一章主要介绍格林布拉特的学术经历,采用他自己的理论术语将其学术历程描述出来,并从散见在各论文中的个人故事叙述拣择出他的生活故事,尽可能地从感性的、生活的层面介绍格林布拉特。格林布拉特曾谈起他早期学术生涯中的一些奇特经历和稍纵即逝的机遇。在格林布拉特看来,人的本质不是一个稳定的、完成了的存在,而是一种动态的流动变化过程,具有历史性,他对“自我造型”的阐释,就植根于这样的哲学见解中。再者,故事叙述(story-telling)在格林布拉特的文化诗学理论研究中占有重要地位,正是通过这些叙述(narrative),表明人的历史是如何被构建、被塑形的,这些叙述被融进文化诗学理论探讨之中。格林布拉特的文本结构,体现了文学文本和生活、文学文本与社会文本的零距离和平等性,也体现了格林布拉特作为一个跨学科学者的文化学术理念。不仅文学文本中存在着审美的魅力,生活本身乃至世界上的一切,都同样存在着某种审美的踪迹,蕴含着审美的价值。当然,审美意义并不是独立于社会生活之外的存在,它也内蕴了主流意识形态话语抑制与颠覆的复杂因素。
第二章主要分析介绍了格林布拉特新历史主义文化诗学的三个重要概念。“新历史主义”和“文化诗学”概念经常混同使用,但是各有侧重,是一对共同点颇多,但是又有一定差异的概念。对于新历史主义这一概念,应着重从历史诗学角度加以理解;而文化诗学主要是指从文化的广阔视域寻绎文学与诸文本之间的关系,发见其诗性品质以及其意识形态政治内涵的理论。本章首先从历史诗学的角度介绍了新历史主义,新历史主义强调抹除历史与文学边界,从而在理论上消解了文学与历史、文学与生活、文学文本与非文学文本的二元对立。现实的历史是无法再现的,能够再现的大都是以文本形式存在的,特别是因为主流意识形态的规置和政治制度的压制,人们不可能把事态的真相全部记入历史,社会权力结构、意识形态因素规制了文本的潜在意义,所以历史文本不是整体的、稳定的而是断裂的,在这种断裂的缝隙中潜存着某些审美特质,所以历史文本也是文化诗学分析的对象。历史叙述里包含了诗学因素,它暗合了主导性历史符码或意识形态符码,既迎合又构建了主流意识形态,作为主流意识形态话语的传统历史文本往往意味着对边缘化生存的盲视,和对异己力量的删除。同时,在文学文本中存在着政治的和主流意识形态压制与颠覆的张力,作家的个性、作家的人格、作家的创作目的、作品的流通等等,都并不是完全自主的,文学文本参与了权力结构的构成,因此,文本与社会能量是双向交流、多次往复形成的。按照新历史主义的观点,人的存在是众多社会文化因素合力的结果,并且人是社会网络结构中的不能忽视的力量,人不是被动地生存着的。
其次,从诗学概念的生成以及整体文化视域介绍了“文化诗学”。文化诗学把人类生存看成是一种隐喻性模式,将一切人类活动都看成一种文化文本,在文本的阐释中体验文化的诗性魅力。当然,“文化诗学”更多地是指对于文学的文化阐释与解读策略。它是将文学文本纳入特定历史时期以及所处文化机制的关系之中反复加以分析描述,从而赋予作品完整的集体性经验。
本章最后介绍了“轶闻主义”这一新历史主义文化诗学的重要内容或者方法。“轶闻主义”是格林布拉特新历史主义文化诗学主要使用的文本阐释手段,体现了格林布拉特新历史主义文化诗学的历史意识和文化观念。格林布拉特对轶闻(anecdote)、尘封的档案资料、警察记录、航海日记等非正史资料有着非凡的兴趣,这也是所有新历史主义学者理论写作的一个重要特点。这种对轶闻的重视,上升到方法论的高度,就是对非主流历史的关注和重视,对边缘化生存意义的肯定。格林布拉特认为以往被排斥在正史之外的轶闻,具有可以“触摸到真实”和“反历史”的诗学特点。
第三章分析格林布拉特新历史主义文化诗学与其它理论批评流派的关系,从一个宏观的文化层面,多角度阐述了格林布拉特理论的主要特点。本章首先介绍新历史主义历史观的来源发展以及历史转向的特点,并分析了文化诗学整体文化观的理论发展脉络和主要内涵,以及格林布拉特的新历史主义文化诗学理论产生的现实理论语境。然后,从格林布拉特与西方马克思主义的理论纠葛入手阐述了传统马克思主义和西方马克思主义与新历史主义文化诗学理论的隐在关联。在格林布拉特看来,马克思主义揭示了资本主义原始积累时期的残酷性,并把它上升到历史必然性的高度,说明了资本主义血腥发展的实质。但是这种抽象概括很容易丧失文本对黑暗时代叙述的诗学品质,从而无意中把人们感性的痛苦归化成抽象的概念,进而失掉文本中震撼人心的诗学力量。论文着重从威廉姆斯和杰姆逊两人的理论见解入手,分析格林布拉特的理论研究与其理论之间的互文性特点。第三节主要分析文化人类学与格林布拉特理论之间的关系。从人类学文化整体的视角,探讨格林布拉特整体文化观与文化诗学的来源和特点,其中提到了“厚描”和“隐喻性”结构两个概念,在格林布拉特看来,现实生活中的一切无不是某种“隐喻”的表达,隐藏着诗性的意义,因此,文化诗学就是在人类文化的整体范畴里的一种诗性阐释和“隐喻性”发现,它意味着将文学与文化以及人类一切有意义的事件联系起来的一种理论努力。第四节从读者批评理论的角度来分析格林布拉特的文本阐释策略,以厘清格林布拉特文本阐释中对读者参与的重视。没有读者的积极多重的交流和互动,格林布拉特的理论是无法成立的,如果阅读和阐释使读者和评论家参与到文本的构建之中,那么就必然包含有一定的政治倾向和意识形态态度。这种读者参与其中,被文本激活的情感和理性力量,就是格林布拉特所说的“惊叹”和“共鸣”。
第四章介绍了格林布拉特对文艺复兴时期的“自我造型”文本阐释的研究成就与主要特点。首先探讨了关于欧美文化传统中“自我”概念发展的理论脉络,然后把格林布拉特的观点放在与其他理论家观点的比照中凸显格林布拉特“自我造型”理论的特点格林布拉特通过对文艺复兴时期从莫尔到莎士比亚这些作家作品的分析发现,这些作家的自我造型主要是向专制权力和权威的强烈反抗与顺从承认同时存在,是通过对异己形象的反叛才得以塑形的。在格林布拉特看来,自我造型是在与主流意识形态以及他异因素的颠覆、抑制的矛盾冲突中逐步实现的,这种“自我造型”体现了自我在塑形过程中被压抑、被化解的动态过程,凸显出自我与权力结构、意识形态无处不在的内在关联。文学阐释中的自我是在历史的合力中形成的。在格林布拉特看来,“自我造型”是一种综合性的文化行为,它包含了作者的创作、文本的呈现与实现,以及阅读与阐释,这种文化行为是相互联系、多次反复,不是一次性完成的,是一种特定文化中多重意义复杂互动的意识。任何的人类行为绝对不是真空中的行为,而是处于受到他人的影响,与对他人的影响之中,所以,任何的界限都只是一种形而上的愿望和表达,是一种理论规范和认识实现的需要。
第五章从格林布拉特文本阐释的跨学科特点入手,分析格林布拉特文本阐释的主要内容。格林布拉特通过对文艺复兴时期莎士比亚戏剧的研究,以具体的审美实践阐释新历史主义对理论疆界的跨越。第一节介绍了格林布拉特文本阐释的对话主义和狂欢化特点,把格林布拉特的理论与巴赫金的诗学联系起来分析解读。这种对话主义和狂欢化旨在形成对主流意识形态的颠覆与反抗,也力避形成新的学术权威和权力话语。第二节介绍了格林布拉特文本阐释的不同层面和不同特点。首先分析了格林布拉特理论对文学文本与历史文本界限的消解。文学是社会历史构成因素中最具人性化和情感力的因素,历史是被激活的历史,而不是僵化的事实和文学背景,文学与历史从来就没有确定的疆界,在两者互相渗透、互相构塑的过程中,形成现实的张力。论文还介绍了格林布拉特文学文本与社会能量的“商讨”、“交易”、“流通”理论,格林布拉特把文学文本放在社会文化的广泛视域里加以解读,进而将文学文本和社会文本的界限消解。格林布拉特认为,艺术作品的形成隐含着社会能量的商讨(negotiation)与交易过程,涉及到社会的主宰通货——金钱与声誉,从而揭示出艺术和社会、历史、经济的复杂关联。另外,格林布拉特对文本诗学性质的重视主要在文本阐释的审美效果:“惊叹”与“共鸣”中介绍。格林布拉特尽管强调意识形态无处不在的权力结构,那种普遍的抑制颠覆和塑形,但是,格林布拉特也注意到了伟大作品超越意识形态的特点,因为吸收了特定时代的语境因素,而产生了艺术作品伟大的艺术力量。格林布拉特提到了“文学的共鸣性质”,主要指文学文本中所包含的审美内涵,其中也包含了各种社会能量的相互作用的张力,它激活和产生了新的文本力量。所以文学阅读不是一个对象化的过程,而是一种能量的冲突、融汇和交流的过程,也是自我力量的形塑和新的文本产生的过程。
论文第六章探讨了格林布拉特的权力观。格林布拉特接受了福柯权力观,认为有时候权力是一种令人捉摸不定的思维方式,权力有时候是存化于人们思维的深处的潜在力量,它决定了人们的行为和命运,这种权力涉及宗教、习俗、心理结构、社会制度、家庭伦理等社会的方方面面,而文本的产生就是文本与社会力量之间“商讨”的结果。在格林布拉特看来,这些无形的权力角逐、运作,和生活的诗性内涵一样都是生活的真相。格林布拉特使用诸如哥伦布发现新大陆等原始资料分析阐述和揭示了殖民过程中的权力征服。殖民过程是在宣布王权占有的仪式和赠送一些玻璃珠子等小礼物的友好气氛中进行的,这样,知识文化和权力结合起来共同成为殖民权力的工具。这种本质就是一种内在的真实,触摸真实,就会发现事件的权力真相。殖民者不会想到那些被殖民的当地人是一些行为个体,或者与自己一样的、独立的生命存在,而是把他们看成是另类的“他者”,是一种物化的存在。这种潜在的思维意识,构成了一种无形潜在的文化暴力,通过将他人在思维上非人化,保持了自己优越的占领者的优势,并以此忽略和遮蔽侵略行为的险恶目的。
论文最后一部分结语,是对文章的进一步概括和综合,同时也谈了一些个人的认识和反思。格林布拉特对社会文本和文学文本的分析,根本着力点并不完全在于对文本的美学性质、语言特点等等的形式主义分析,而且在于通过在文本阐释中不断重构文本,发见被隐在的主流意识形态和政治力量塑形的历史因素。格林布拉特文化诗学的跨学科特点,不仅是对大学或研究机构中已经确定的学科的跨越,也是对文本与社会生活的跨越,这是一种新的理论研究理念,所有的学科之间、学科与与生活之间都是相通的。从某种程度上说,格林布拉特的贡献在于将文本阐释与社会政治、经济等一切现实活动结合起来,着力透过文学文本发见现实的物质流动,并在社会文本的剖析过程中发现文学艺术与审美的踪迹。格林布拉特从宏阔的角度探索人类文化活动的意义,所以并不囿于一个领域,所有的人类文化现象,都是其关注的中心,所以是跨学科的,是一种网络化的文化阐释方式。格林布拉特的新历史主义文化诗学以独特的研究方法和理论思维方式改变了文学理论批评的研究范畴,对文学研究发生了革命性的影响,并广泛渗透到小说、诗歌、戏剧以及电影、电视等多种文艺样式之中,体现于创作实践和理论批评等各个文艺活动层面,具有重要的理论价值和现实意义。
另外,论文写作初期与格林布拉特本人取得联系,得到启发。论文主要有三方面的特点。第一,论文对格林布拉特的个人学术经历以及理论阐述并没有完全局限于国内的译介,而是从断裂的历史观、整体的文化观两个层面,将格林布拉特的理论放在与其它相关理论家相联系的基础上,进行横向与纵向的比较阐释,具有理论新意。第二,格林布拉特的论文论著译介过来的不多,且国内尚无关于格林布拉特理论研究的专著发表,所以,该论文很大部分采用此前国内未曾使用的第一手资料,在深入阅读格林布拉特的原作的基础上构思完成,对格林布拉特的学术思想有较为独特的阐发和理解。第三,论文没有把格林布拉特作为新历史主义理论的标签进行抽象研究,而是把他还原成富有个性、见解独特的理论批评学者,对他的理论和学术结构进行分析和研究,并着力复制他汪洋恣肆、没有成见的写作风格,并将格林布拉特的理论思维内化于论文的实际写作当中,多层面多角度地阐述格林布拉特的理论。
New Historicism and Cultural Poetics,first initiated by Stephen Jay Greenblatt, have become a highly influential and far-reaching poetics system in contemporary Europe and America,as well as an important component of contemporary European and American literary theory.This poetics theory is featured by interdisciplinary studies. Greenblatt is named by Harvard University as "Professor of Interdisciplinary Culture" and "Father of New Historicism".
The clue behind Greenblatt's theory falls mainly into two parts.The first is disruptive outlook of history.Greenblatt considers history as unstable and uncertain,but a kind of ruptured,accidental and interrupted existence.The second is the integrated outlook of culture.This integrated outlook of culture is by no means contraditary with the rupture of history.Greenblatt considers culture as a systematical structure of "metaphor",among which the nature of human being is unstable,but rather a constantly shaping process.Human culture is mobility and constantly constructed.
In certain respects,New Historicism refers more to a theoretical research method. In such a theoretical effort,it unavoidably makes a comparison between literary text and non-literary text,arguing and exploring their interior structures and various potential connections and differences hidden in the icons.New Historicism means the multi-interpretation and theoretical construction to the connotation of history.For New Historicism,history is activated history,not rigid facts and literary background.
The Dissertation mainly includes eight parts.The Introduction makes a simple explanation on the choice of the topic,target scope and literature review.It also gives an introduction of the general idea and structural arrangement of the Dissertation.
Chapter One mainly depicts Greenblatt's academic experiences,adopting his own theoretical terminology to delineate his academic tracks,thus making an introduction to Greenblatt in the perceptual and life perspective in the most possible way.Greenblatt once talked in a joking way about some peculiar experience and fleeting opportunities in his early academic years.For Greenblatt,human nature is not a stable and completed existence,but a dynamic,mobility and changing process,with the historical features. His interpretation of"Self-Fashtioning" is rooted in this philosophical view.In addition, story-telling takes an important position in the study of Cultural Poetics theory of Greenblatt.It is just because of these narratives that indicate how history has been constructed and shaped.These narratives have been merged into the research on Cultural Poetics theory.Such text structure represents the zero distance and equality between literary text and life,and between literary text and social text.And it also represents the cultural and academic concepts of Greenblatt as an interdisciplinary scholar.It is not only literary text has aesthetic charm,but life itself and even everything in the world has certain aesthetic trail and contains aesthetic values.Of course,aesthetic significance is not independent of social life.It is a complicated course of the repressing and subversion of the mainstream ideology discourse.
Chapter Two mainly introduces three important concepts of Greenblatt's New Historical and Cultural Poetics.The concept of New Historicism and Cultural Poetics are often used in a mixed way,but each having a particular emphasis.They are a pair of concepts with many common but certain different features.New Historicism should be understood mainly the perspective of historical poetics,while Cultural Poetics emphasizes the relationship between literature and various texts from the broad view of culture and from this finds the nature of poetics and the political connotation of ideology. This chapter first introduces New Historicism in the perspective of historical poetics. According to New Historicism,first,man and history are not the essence but the existence of constructed text.It is not that man are windy existence,nor history is completely relative,but that the existence of man is the result of various cultural factors and man is not existing passively.Human Beings are social forces that are not neglectable in social networks.Secondly,a more important view is historical narratives are full of poetics factors,implicit of the leading historical codes or ideological codes, catering to and constructing the mainstream ideology.Therefore,the traditional historical text as mainstream ideological discourse sometimes means the blindness to marginal existence and deletion of alienable forces.Therefore,New Historicism,since it emerged,has evoked numerous imbroglios by critical theorists and aroused extensive response from social science sector.It can be said that no matter how many attacks or extensive annotation,they all explain the value of existence and charm of New Historicism."Historical text" and "textual history"both emphasize the erasing of the border between history and literature,thus clearing up the dual opposition between literature and history,literature and life,literary text and non-literary text.The real history can not be re-presented.What can be re-presented is the existence of text. Especially due to the regulation of mainstream ideology and repression of political system,people cannot record the whole facts into history.Therefore,historical text is not integral and stable,but insteadly ruptured.In the aperture of the ruptures there exists certain aesthetic particularity.Therefore,historical text is also the target for analysis of Cultural Poetics.In the mean while,there exists the tension between political and mainstream ideological repression and subversion in literary text.The individuality and personality of the writer,the aim of writing,and the circulation of the works are not completely self-conscious.Literary text takes part in the power structuring.And the social power structure and ideological factors have also regulated the potential meaning of the text.Therefore,text and social power is formed through bidirectional and multiple interactions.
Secondly,the chapter introduces Cultural Poetics in the perspective of the generation of poetics and integral cultural view.Cultural Poetics takes all human activities as a king of cultural text,and tastes the charm of Poetics in the interpretation of such a text.Culture takes poetics as a metaphoric mode of human existence.Of course,Cultural Poetics refers more to the strategy for cultural interpretation and unscrambling of literature.Culture is a view as well as a connotation;while literature is a starting point as well as a central point of theory.This strategy for literary interpretation and unscrambling is to take literary text into an analysis and description through the relationship between special historical period and its cultural mechanism, thus bestowing the work with complete and collective experience.
Apart from that,the Anecdote is a major measure for text interpretation by Greenblatt's.The anecdote is the important content and method of New Historicism;it explains the connotation and Poetics significance of the anecdote.Greenblatt shows great interest in the non-historical materials such as archive materials,police records and ship logs sailed by anecdotes.It should be mentioned that this is also an important feature of New Historicism and Cultural Poetics theory,i.e.the stress on anecdotes.If considered from methodology,this is the concern and focus on non-mainstream history and the affirmation on the significance of marginal existence.New Historicism sticks to the point that anecdotes excluded from official history have "the touch of the real" and "counter-historical" features.This is the anecdote.
Chapter Three is one of the core parts of the paper.It mainly analyzes the relationship between Cultural Poetics and other criticism theories,and elaborates on the main characteristics of Greenblatt's theory from various cultural perspectives at a macro level.Section 1 is divided into three parts.The first part explains the origin of New Historicism and the main features of historical turn,the second part analyzes the theoretical development venation and the connotation of Cultural Poetics,and the third part introduces the practical theoretical context in which Cultural Poetics was born. Section 2 starts from the entanglement of Greenblatt with Marxism,analyzes the relationship between Cultural Poetics and western Marxism,and elaborates on the hidden connection between traditional Marxism and western Marxism on the one hand and Cultural Poetics on the other hand.To Greenblatt's eye,Marxism exposes the cruelty during the stage of primitive accumulation by capitalism and lifts that to the level of historical inevitability to show the bloody nature of capitalism.But such an abstract conclusion makes it easy to lose the poetic qualities of text description of the Dark Age,unconsciously summarize the sensible pain of the people to an abstract concept and then lose the stirring power of poetics.The paper further analyzes Williams and Jameson and the intertexuality between their researches and Greenblatt's theory. Section 3 makes analysis of the relationship between Cultural Anthropology and Greenblatt's theory and mentions the concepts of "thick description" and "metaphor structure".Taking a viewpoint of Cultural Anthropology,this section has a deeper discussion of the origin and features of Greenblatt's view on culture and Cultural poetics.Greenblatt maintains that everything in practical life is an expression of such "metaphor" and has hidden poetic meanings.Therefore Cultural poetics is a kind of poetic interpretation and discovery of "metaphor" within the overall scope of human culture.It is a theoretical effort to link culture and literature with every meaningful event of human life.
In Section Four,the text interpretation strategy of Greenblatt is analyzed from the perspective of readers' criticism.The purpose of placing Greenblatt's theory in the big category of readers' criticism is to highlight the importance placed by Greenblatt's text interpretation on readers' participation.Without the proactive and diversified exchanges and interaction with readers,Greenblatt's theory would have no foundation.When reading and interpretation allow readers and critics to participate in the construction of texts,there will definitely be certain political preference and ideological attitude.Such emotional and rational strength of readers by participating in the text and being activated is the "wonder" and "Resonance" called by Greenblatt.
Chapter Four writes about the text interpretation by Greenblatt of "self-fashioning" during the Renaissance and introduces the characteristics of his theory and his achievements in this field.This chapter first discusses about the theoretical development of the "self" concept in the European and American cultural tradition,and then compares Greenblatt's theory with other theories to pinpoint the characteristics of Greenblatt's theory on "self-fashioning".This part is also one major part of Greenblatt's theory.Through analysis of the works form More to Shakespeare during the Renaissance,Greenblatt found that the self-fashioning of these writers combines strong resistance against and obedience and recognition of dictatorship.These fashioning powers outside the self are God,Bible,church,court,colonization,military authority and some other authorities.When talking about self-fashioning during the Renaissance, Greenblatt said that the effect of self-fashioning is acquired through something regarded as heretical,strange or frightful and done by revolting against such heretical images.He believes that self-fashioning gradually takes shape in the contradiction,subversion and suppress with mainstream ideology and dissident factors,and such self-fashioning reflects the dynamic process when the self is suppressed and relieved during the fashioning process,and demonstrates the omnipresent inherent connection between self and power structure and ideology.His belief is closely related with Foucault's Theory of Power and Discourse.There is kind of cranny between the suppression and hindrance of mainstream ideology and people's thinking and acts.The ruling class reaches a stable balance of rule in the tension of subversion and suppress by creating dissident factors and assimilating and resolving the contradiction incurred.In other words,the self in literary interpretation is formed in the resultant force of the history,after conflicts, pursuit and fighting among various powers that shape the self.The threatening dissident factors,hidden prejudice,overwhelming ideological standard and invisible power structure are exposed in text interpretation,thus revealing the fabrication and text cranny of mainstream ideology historical course.
It is perceived by Greenblatt that "self-fashioning" is a kind of comprehensive cultural behavior which contains authorship,text representation and realization,and reading and interpretation.All those cultural activities are interrelated,repeated rather than finished once for all,and are the interaction of various meanings within a specific culture.Any human behavior is not generated in vacuum,but out of others' influence or with influence on others.So any boundary is merely a metaphysical wish and expression and demanded by some theoretical standards and cognition.
Chapter Five introduces the main content of text interpretation theory by analyzing its interdisciplinary feature.By studying the Shakespeare plays during the Renaissance, Greenblatt explains with a concrete aesthetic practice the involvement of New Historicism in different theories.Greenblatt believes that New Historicism steps in the fields of literary criticism and literature.It tends to make hypothesis of itself and other theories by its own methodology and pose questions.That is one of the most important parts of the paper.Section 1 introduces dialogism and carnival,the two features of text interpretation of Greenblatt and analyzes Greenblatt connected with Bakhtin.Dialogism and carnival are aimed to form subversion and resistance to mainstream ideology and try to avoid the formation of new academic authority and power discourse.Section 2 tells the different layers and characteristics of text interpretation.These layers are made merely for the purpose of a clearer understanding because they are an inseparable whole. This section first exposes the complex connection between art and society,history and economy.It then introduces the theory of "negotiation","circulation" and "exchange" between literary text and social energy.Greenblatt places literary text in the extensive scope pf social culture so as to melt the boundary between literary text and social text. The concepts of "negotiation","circulation" and "exchange" mentioned here are introduced by Greenblatt from the field of economic development of United States,in order to create a familiar and surprising poetic effect.To understand these concepts is pivotal to the understanding of Cultural poetics.He says that the formation of art works contains the negotiation and exchange of social energy and involves money and reputation-the dominating medium of circulation in society.Seen by Greenblatt, literary theory and criticism are never monolog exclusive to a specific field,in particular, such literary and art forms as audio and video,Hollywood films,TV shows and novels have shaped people's life in an extensive and subtle manner,and the practical matters like practical life,political power and economic benefit have in turn become the hotbed of literary works.
In addition,Greenblatt's emphasis on the context poetics nature was mainly introduced in the aesthetic effect of the interpretation of the context,that is,"wonder" and "resonance"."Wonder" and "resonance" are the two key words often used by Greenblatt and reflect his aesthetic thoughts.Though Greenblatt emphasized the ubiquitous power structure of ideology and the universal constrained upheaval and moulding,he also noticed that masterpieces surpass the ideology as the former absorbs the context elements of a certain time and creates the power of art.The "resonance" nature of literature mentioned by Greenblatt mainly refers to the aesthetic connotation of the literature context and the tension of the interrelation with various kinds of social powers that initiates and creates new context power.In this sense,literature reading is not a process of objectifying but the conflict,integration and exchanges of powers,the molding of self power and the creation of new context.
Chapter Six study the conception of power by comparing and analyzing the theories of Greenblatt and Foucault.The two theorists,though having respective characteristics,have many things in common.Actually this relation has been touched in this thesis and can't be really given a though and comprehensive analysis in this chapter alone as it is a wide issue.This chapter only studies the exercise of power and the touch of the real.For the part of "the touch of the real",it has been discussed in "the Anecdote" part before.It is really an unwilling choice to discuss it again in this chapter because all problems have to be expounded separately although it is an entirety.This is the "non autonomy" of academic research explained by Greenblatt,the internalized concept model and realistic requirement,and constrains of ideology.Greenblatt accepted Foucault's concept that sometimes power is an unpredictable kind of way of thought that determines people's behavior and destiny,and that the context is the result of "negotiation" between context and social power relating to religion,custom, psychological structure,social system,family ethics and many other aspects.Power sometimes is the potential strength hidden inside the deep of people's though and its effects appear as customs,as the illusion of warm-heartedness.It alienates the nature of people and leads to the fall and failure of the ego.To Greenblatt,these invisible contending and exercising of power are "the touch of the real" as the poetic connotation in our life.
Greenblatt used raw materials such as the finding of New World by Columbus to make analysis to revel the power conquer during the process of the mysterious colonization,which was in the friend atmosphere of presenting small gifts like glass beads.Language,knowledge and power together became the tools of colonization.This nature is the in-built reality.The touch of the real gives the found of the nature of the happenings.Colonization conquer is a kind of power conquer.The point is not in the conquer itself,but in the conquer stand,thought ways and angles that are neglected.The colonists didn't think the colonized local people are human beings just independent existence and beings same as themselves.They took them as the "others",as a kind of materialized existence.Under this circumstance,the presenting of a piece of glass bead became generosity and decent behavior,and the generous giving and obedience of the indigenous became their rights as the masters.This hidden thought formed the intangible cultural terrorism,which maintains the advantages of the occupiers and neglects the evil purposes of invasion by dehumanizing others in their thoughts.
The last part is the conclusion of the paper,which is a brief overall assessment and a multi-level review of Greenblatt's New Historicism and Cultural Poetics,a further conclusion and summing-up of the paper,and some personal opinions.In Greenblatt's view,real life,art and aesthetics are not two utterly different things,which are separated with each others.Art and aesthetics are an important level in the form of our life and they have a infiltrating,condensing and moulding factor to the real life.Aesthetic existence and live activities are not separable from the moulding and impact of social factors.The live activities of human being are impossible to be primitive form the very beginning and this determines that they are only limited single existence in their social space.To Greenblatt,the facts of real history are often hidden in the historic archives and some inconspicuous journals,diaries,paintings and anecdotes since history is segmented and not complete.So Greenblatt usually turned his attention to "histories" and tried to fred the hidden code of the history by some narrative stories.Greenblatt's analysis of social and literature text was not based totally on the analyzing of the aesthetic nature,language characteristics and other things of formism.Instead,it was the finding of the historical factors that hidden mainstream ideology and political powers through reconstructing context in the context interpretation.
The interdisciplinary feature of New Historicism is not only a striding over the subjects in the universities and the academic research institutes,but also a striding over text and social life.It is a new brand theoretical research concept that all subjects are connected with life,history are constituted with various kinds of situations and texts and those texts are connected to form the completion of culture.Historical context may be inevitable;it is more likely to be occasional stories because usually inevitability is often caused by much randomness.
To some extent,Greenblatt's contributions are that he tried to connect the academic concern of the elite scholars with all real life activities such as politics and economy.He endeavored to find the materials flowing through literature,and the art and aesthetic relics in the analysis of social context.New Historicism is to probe into the meaning of human social activities from a broad view and so it is not limited to one single area.It is interdisciplinary and all human cultural phenomena are the focus of its concern.It is a wide networking of cultural interpretation,and literature is one of the core elements of its theoretical studies.
New Historicism and Cultural Poetics of Greenblatt changed the relations between history and literature in the eyes of traditional scholars(including historicists and literature critics).History is clearly shown because of the hidden nature of context and narrative and is more connected theoretically and in the reality with literature.The reflection and discretion of literature on historical happenings not only revealed the social reality and people's everyday life conditions under a certain historic background, but also touches on the literature,political rights and ideology of that time.Greenblatt's New Historicism and Cultural Poetics changed the research domain of literature critics by unique ways of research and mode of theoretical thoughts,and exerted revolutionary influences on the historic research,and even more art categories including novels, poems,dramas,movies and TV programs.
格林布拉特理论研究隐含着两个层面的观点:其一是断裂的历史观。格林布拉特认为历史不是稳定的,不是确定的,而是一种充满着断裂、偶然、间断的存在,历史是不断构建着的;其二是整体的文化观,这种整体观与历史的断裂性并不矛盾。格林布拉特认为人的本质不是稳定的,而是一种不断塑形的过程,文化是一种系统的“隐喻性”结构,人类的文化是流动的,不断构建着的。本论文主要根据这两个层面对格林布拉特新历史主义文化诗学理论进行分析阐述。从某种角度讲,“新历史主义”更多是指一种理论研究方法,在这种理论努力中,必然将文学文本和非文学文本互相对照阐述,论证与探讨它们在内在结构、隐在的符号化等方面的潜在联系与区别。新历史主义意味着对文学与历史内涵的多重阐释与理论构建。
论文共分八个部分。绪论部分对论文的选题思路、对象范围、选题意义、以及研究文献情况作了简要的说明,也介绍了文章的总体思路和结构安排。
论文第一章主要介绍格林布拉特的学术经历,采用他自己的理论术语将其学术历程描述出来,并从散见在各论文中的个人故事叙述拣择出他的生活故事,尽可能地从感性的、生活的层面介绍格林布拉特。格林布拉特曾谈起他早期学术生涯中的一些奇特经历和稍纵即逝的机遇。在格林布拉特看来,人的本质不是一个稳定的、完成了的存在,而是一种动态的流动变化过程,具有历史性,他对“自我造型”的阐释,就植根于这样的哲学见解中。再者,故事叙述(story-telling)在格林布拉特的文化诗学理论研究中占有重要地位,正是通过这些叙述(narrative),表明人的历史是如何被构建、被塑形的,这些叙述被融进文化诗学理论探讨之中。格林布拉特的文本结构,体现了文学文本和生活、文学文本与社会文本的零距离和平等性,也体现了格林布拉特作为一个跨学科学者的文化学术理念。不仅文学文本中存在着审美的魅力,生活本身乃至世界上的一切,都同样存在着某种审美的踪迹,蕴含着审美的价值。当然,审美意义并不是独立于社会生活之外的存在,它也内蕴了主流意识形态话语抑制与颠覆的复杂因素。
第二章主要分析介绍了格林布拉特新历史主义文化诗学的三个重要概念。“新历史主义”和“文化诗学”概念经常混同使用,但是各有侧重,是一对共同点颇多,但是又有一定差异的概念。对于新历史主义这一概念,应着重从历史诗学角度加以理解;而文化诗学主要是指从文化的广阔视域寻绎文学与诸文本之间的关系,发见其诗性品质以及其意识形态政治内涵的理论。本章首先从历史诗学的角度介绍了新历史主义,新历史主义强调抹除历史与文学边界,从而在理论上消解了文学与历史、文学与生活、文学文本与非文学文本的二元对立。现实的历史是无法再现的,能够再现的大都是以文本形式存在的,特别是因为主流意识形态的规置和政治制度的压制,人们不可能把事态的真相全部记入历史,社会权力结构、意识形态因素规制了文本的潜在意义,所以历史文本不是整体的、稳定的而是断裂的,在这种断裂的缝隙中潜存着某些审美特质,所以历史文本也是文化诗学分析的对象。历史叙述里包含了诗学因素,它暗合了主导性历史符码或意识形态符码,既迎合又构建了主流意识形态,作为主流意识形态话语的传统历史文本往往意味着对边缘化生存的盲视,和对异己力量的删除。同时,在文学文本中存在着政治的和主流意识形态压制与颠覆的张力,作家的个性、作家的人格、作家的创作目的、作品的流通等等,都并不是完全自主的,文学文本参与了权力结构的构成,因此,文本与社会能量是双向交流、多次往复形成的。按照新历史主义的观点,人的存在是众多社会文化因素合力的结果,并且人是社会网络结构中的不能忽视的力量,人不是被动地生存着的。
其次,从诗学概念的生成以及整体文化视域介绍了“文化诗学”。文化诗学把人类生存看成是一种隐喻性模式,将一切人类活动都看成一种文化文本,在文本的阐释中体验文化的诗性魅力。当然,“文化诗学”更多地是指对于文学的文化阐释与解读策略。它是将文学文本纳入特定历史时期以及所处文化机制的关系之中反复加以分析描述,从而赋予作品完整的集体性经验。
本章最后介绍了“轶闻主义”这一新历史主义文化诗学的重要内容或者方法。“轶闻主义”是格林布拉特新历史主义文化诗学主要使用的文本阐释手段,体现了格林布拉特新历史主义文化诗学的历史意识和文化观念。格林布拉特对轶闻(anecdote)、尘封的档案资料、警察记录、航海日记等非正史资料有着非凡的兴趣,这也是所有新历史主义学者理论写作的一个重要特点。这种对轶闻的重视,上升到方法论的高度,就是对非主流历史的关注和重视,对边缘化生存意义的肯定。格林布拉特认为以往被排斥在正史之外的轶闻,具有可以“触摸到真实”和“反历史”的诗学特点。
第三章分析格林布拉特新历史主义文化诗学与其它理论批评流派的关系,从一个宏观的文化层面,多角度阐述了格林布拉特理论的主要特点。本章首先介绍新历史主义历史观的来源发展以及历史转向的特点,并分析了文化诗学整体文化观的理论发展脉络和主要内涵,以及格林布拉特的新历史主义文化诗学理论产生的现实理论语境。然后,从格林布拉特与西方马克思主义的理论纠葛入手阐述了传统马克思主义和西方马克思主义与新历史主义文化诗学理论的隐在关联。在格林布拉特看来,马克思主义揭示了资本主义原始积累时期的残酷性,并把它上升到历史必然性的高度,说明了资本主义血腥发展的实质。但是这种抽象概括很容易丧失文本对黑暗时代叙述的诗学品质,从而无意中把人们感性的痛苦归化成抽象的概念,进而失掉文本中震撼人心的诗学力量。论文着重从威廉姆斯和杰姆逊两人的理论见解入手,分析格林布拉特的理论研究与其理论之间的互文性特点。第三节主要分析文化人类学与格林布拉特理论之间的关系。从人类学文化整体的视角,探讨格林布拉特整体文化观与文化诗学的来源和特点,其中提到了“厚描”和“隐喻性”结构两个概念,在格林布拉特看来,现实生活中的一切无不是某种“隐喻”的表达,隐藏着诗性的意义,因此,文化诗学就是在人类文化的整体范畴里的一种诗性阐释和“隐喻性”发现,它意味着将文学与文化以及人类一切有意义的事件联系起来的一种理论努力。第四节从读者批评理论的角度来分析格林布拉特的文本阐释策略,以厘清格林布拉特文本阐释中对读者参与的重视。没有读者的积极多重的交流和互动,格林布拉特的理论是无法成立的,如果阅读和阐释使读者和评论家参与到文本的构建之中,那么就必然包含有一定的政治倾向和意识形态态度。这种读者参与其中,被文本激活的情感和理性力量,就是格林布拉特所说的“惊叹”和“共鸣”。
第四章介绍了格林布拉特对文艺复兴时期的“自我造型”文本阐释的研究成就与主要特点。首先探讨了关于欧美文化传统中“自我”概念发展的理论脉络,然后把格林布拉特的观点放在与其他理论家观点的比照中凸显格林布拉特“自我造型”理论的特点格林布拉特通过对文艺复兴时期从莫尔到莎士比亚这些作家作品的分析发现,这些作家的自我造型主要是向专制权力和权威的强烈反抗与顺从承认同时存在,是通过对异己形象的反叛才得以塑形的。在格林布拉特看来,自我造型是在与主流意识形态以及他异因素的颠覆、抑制的矛盾冲突中逐步实现的,这种“自我造型”体现了自我在塑形过程中被压抑、被化解的动态过程,凸显出自我与权力结构、意识形态无处不在的内在关联。文学阐释中的自我是在历史的合力中形成的。在格林布拉特看来,“自我造型”是一种综合性的文化行为,它包含了作者的创作、文本的呈现与实现,以及阅读与阐释,这种文化行为是相互联系、多次反复,不是一次性完成的,是一种特定文化中多重意义复杂互动的意识。任何的人类行为绝对不是真空中的行为,而是处于受到他人的影响,与对他人的影响之中,所以,任何的界限都只是一种形而上的愿望和表达,是一种理论规范和认识实现的需要。
第五章从格林布拉特文本阐释的跨学科特点入手,分析格林布拉特文本阐释的主要内容。格林布拉特通过对文艺复兴时期莎士比亚戏剧的研究,以具体的审美实践阐释新历史主义对理论疆界的跨越。第一节介绍了格林布拉特文本阐释的对话主义和狂欢化特点,把格林布拉特的理论与巴赫金的诗学联系起来分析解读。这种对话主义和狂欢化旨在形成对主流意识形态的颠覆与反抗,也力避形成新的学术权威和权力话语。第二节介绍了格林布拉特文本阐释的不同层面和不同特点。首先分析了格林布拉特理论对文学文本与历史文本界限的消解。文学是社会历史构成因素中最具人性化和情感力的因素,历史是被激活的历史,而不是僵化的事实和文学背景,文学与历史从来就没有确定的疆界,在两者互相渗透、互相构塑的过程中,形成现实的张力。论文还介绍了格林布拉特文学文本与社会能量的“商讨”、“交易”、“流通”理论,格林布拉特把文学文本放在社会文化的广泛视域里加以解读,进而将文学文本和社会文本的界限消解。格林布拉特认为,艺术作品的形成隐含着社会能量的商讨(negotiation)与交易过程,涉及到社会的主宰通货——金钱与声誉,从而揭示出艺术和社会、历史、经济的复杂关联。另外,格林布拉特对文本诗学性质的重视主要在文本阐释的审美效果:“惊叹”与“共鸣”中介绍。格林布拉特尽管强调意识形态无处不在的权力结构,那种普遍的抑制颠覆和塑形,但是,格林布拉特也注意到了伟大作品超越意识形态的特点,因为吸收了特定时代的语境因素,而产生了艺术作品伟大的艺术力量。格林布拉特提到了“文学的共鸣性质”,主要指文学文本中所包含的审美内涵,其中也包含了各种社会能量的相互作用的张力,它激活和产生了新的文本力量。所以文学阅读不是一个对象化的过程,而是一种能量的冲突、融汇和交流的过程,也是自我力量的形塑和新的文本产生的过程。
论文第六章探讨了格林布拉特的权力观。格林布拉特接受了福柯权力观,认为有时候权力是一种令人捉摸不定的思维方式,权力有时候是存化于人们思维的深处的潜在力量,它决定了人们的行为和命运,这种权力涉及宗教、习俗、心理结构、社会制度、家庭伦理等社会的方方面面,而文本的产生就是文本与社会力量之间“商讨”的结果。在格林布拉特看来,这些无形的权力角逐、运作,和生活的诗性内涵一样都是生活的真相。格林布拉特使用诸如哥伦布发现新大陆等原始资料分析阐述和揭示了殖民过程中的权力征服。殖民过程是在宣布王权占有的仪式和赠送一些玻璃珠子等小礼物的友好气氛中进行的,这样,知识文化和权力结合起来共同成为殖民权力的工具。这种本质就是一种内在的真实,触摸真实,就会发现事件的权力真相。殖民者不会想到那些被殖民的当地人是一些行为个体,或者与自己一样的、独立的生命存在,而是把他们看成是另类的“他者”,是一种物化的存在。这种潜在的思维意识,构成了一种无形潜在的文化暴力,通过将他人在思维上非人化,保持了自己优越的占领者的优势,并以此忽略和遮蔽侵略行为的险恶目的。
论文最后一部分结语,是对文章的进一步概括和综合,同时也谈了一些个人的认识和反思。格林布拉特对社会文本和文学文本的分析,根本着力点并不完全在于对文本的美学性质、语言特点等等的形式主义分析,而且在于通过在文本阐释中不断重构文本,发见被隐在的主流意识形态和政治力量塑形的历史因素。格林布拉特文化诗学的跨学科特点,不仅是对大学或研究机构中已经确定的学科的跨越,也是对文本与社会生活的跨越,这是一种新的理论研究理念,所有的学科之间、学科与与生活之间都是相通的。从某种程度上说,格林布拉特的贡献在于将文本阐释与社会政治、经济等一切现实活动结合起来,着力透过文学文本发见现实的物质流动,并在社会文本的剖析过程中发现文学艺术与审美的踪迹。格林布拉特从宏阔的角度探索人类文化活动的意义,所以并不囿于一个领域,所有的人类文化现象,都是其关注的中心,所以是跨学科的,是一种网络化的文化阐释方式。格林布拉特的新历史主义文化诗学以独特的研究方法和理论思维方式改变了文学理论批评的研究范畴,对文学研究发生了革命性的影响,并广泛渗透到小说、诗歌、戏剧以及电影、电视等多种文艺样式之中,体现于创作实践和理论批评等各个文艺活动层面,具有重要的理论价值和现实意义。
另外,论文写作初期与格林布拉特本人取得联系,得到启发。论文主要有三方面的特点。第一,论文对格林布拉特的个人学术经历以及理论阐述并没有完全局限于国内的译介,而是从断裂的历史观、整体的文化观两个层面,将格林布拉特的理论放在与其它相关理论家相联系的基础上,进行横向与纵向的比较阐释,具有理论新意。第二,格林布拉特的论文论著译介过来的不多,且国内尚无关于格林布拉特理论研究的专著发表,所以,该论文很大部分采用此前国内未曾使用的第一手资料,在深入阅读格林布拉特的原作的基础上构思完成,对格林布拉特的学术思想有较为独特的阐发和理解。第三,论文没有把格林布拉特作为新历史主义理论的标签进行抽象研究,而是把他还原成富有个性、见解独特的理论批评学者,对他的理论和学术结构进行分析和研究,并着力复制他汪洋恣肆、没有成见的写作风格,并将格林布拉特的理论思维内化于论文的实际写作当中,多层面多角度地阐述格林布拉特的理论。
New Historicism and Cultural Poetics,first initiated by Stephen Jay Greenblatt, have become a highly influential and far-reaching poetics system in contemporary Europe and America,as well as an important component of contemporary European and American literary theory.This poetics theory is featured by interdisciplinary studies. Greenblatt is named by Harvard University as "Professor of Interdisciplinary Culture" and "Father of New Historicism".
The clue behind Greenblatt's theory falls mainly into two parts.The first is disruptive outlook of history.Greenblatt considers history as unstable and uncertain,but a kind of ruptured,accidental and interrupted existence.The second is the integrated outlook of culture.This integrated outlook of culture is by no means contraditary with the rupture of history.Greenblatt considers culture as a systematical structure of "metaphor",among which the nature of human being is unstable,but rather a constantly shaping process.Human culture is mobility and constantly constructed.
In certain respects,New Historicism refers more to a theoretical research method. In such a theoretical effort,it unavoidably makes a comparison between literary text and non-literary text,arguing and exploring their interior structures and various potential connections and differences hidden in the icons.New Historicism means the multi-interpretation and theoretical construction to the connotation of history.For New Historicism,history is activated history,not rigid facts and literary background.
The Dissertation mainly includes eight parts.The Introduction makes a simple explanation on the choice of the topic,target scope and literature review.It also gives an introduction of the general idea and structural arrangement of the Dissertation.
Chapter One mainly depicts Greenblatt's academic experiences,adopting his own theoretical terminology to delineate his academic tracks,thus making an introduction to Greenblatt in the perceptual and life perspective in the most possible way.Greenblatt once talked in a joking way about some peculiar experience and fleeting opportunities in his early academic years.For Greenblatt,human nature is not a stable and completed existence,but a dynamic,mobility and changing process,with the historical features. His interpretation of"Self-Fashtioning" is rooted in this philosophical view.In addition, story-telling takes an important position in the study of Cultural Poetics theory of Greenblatt.It is just because of these narratives that indicate how history has been constructed and shaped.These narratives have been merged into the research on Cultural Poetics theory.Such text structure represents the zero distance and equality between literary text and life,and between literary text and social text.And it also represents the cultural and academic concepts of Greenblatt as an interdisciplinary scholar.It is not only literary text has aesthetic charm,but life itself and even everything in the world has certain aesthetic trail and contains aesthetic values.Of course,aesthetic significance is not independent of social life.It is a complicated course of the repressing and subversion of the mainstream ideology discourse.
Chapter Two mainly introduces three important concepts of Greenblatt's New Historical and Cultural Poetics.The concept of New Historicism and Cultural Poetics are often used in a mixed way,but each having a particular emphasis.They are a pair of concepts with many common but certain different features.New Historicism should be understood mainly the perspective of historical poetics,while Cultural Poetics emphasizes the relationship between literature and various texts from the broad view of culture and from this finds the nature of poetics and the political connotation of ideology. This chapter first introduces New Historicism in the perspective of historical poetics. According to New Historicism,first,man and history are not the essence but the existence of constructed text.It is not that man are windy existence,nor history is completely relative,but that the existence of man is the result of various cultural factors and man is not existing passively.Human Beings are social forces that are not neglectable in social networks.Secondly,a more important view is historical narratives are full of poetics factors,implicit of the leading historical codes or ideological codes, catering to and constructing the mainstream ideology.Therefore,the traditional historical text as mainstream ideological discourse sometimes means the blindness to marginal existence and deletion of alienable forces.Therefore,New Historicism,since it emerged,has evoked numerous imbroglios by critical theorists and aroused extensive response from social science sector.It can be said that no matter how many attacks or extensive annotation,they all explain the value of existence and charm of New Historicism."Historical text" and "textual history"both emphasize the erasing of the border between history and literature,thus clearing up the dual opposition between literature and history,literature and life,literary text and non-literary text.The real history can not be re-presented.What can be re-presented is the existence of text. Especially due to the regulation of mainstream ideology and repression of political system,people cannot record the whole facts into history.Therefore,historical text is not integral and stable,but insteadly ruptured.In the aperture of the ruptures there exists certain aesthetic particularity.Therefore,historical text is also the target for analysis of Cultural Poetics.In the mean while,there exists the tension between political and mainstream ideological repression and subversion in literary text.The individuality and personality of the writer,the aim of writing,and the circulation of the works are not completely self-conscious.Literary text takes part in the power structuring.And the social power structure and ideological factors have also regulated the potential meaning of the text.Therefore,text and social power is formed through bidirectional and multiple interactions.
Secondly,the chapter introduces Cultural Poetics in the perspective of the generation of poetics and integral cultural view.Cultural Poetics takes all human activities as a king of cultural text,and tastes the charm of Poetics in the interpretation of such a text.Culture takes poetics as a metaphoric mode of human existence.Of course,Cultural Poetics refers more to the strategy for cultural interpretation and unscrambling of literature.Culture is a view as well as a connotation;while literature is a starting point as well as a central point of theory.This strategy for literary interpretation and unscrambling is to take literary text into an analysis and description through the relationship between special historical period and its cultural mechanism, thus bestowing the work with complete and collective experience.
Apart from that,the Anecdote is a major measure for text interpretation by Greenblatt's.The anecdote is the important content and method of New Historicism;it explains the connotation and Poetics significance of the anecdote.Greenblatt shows great interest in the non-historical materials such as archive materials,police records and ship logs sailed by anecdotes.It should be mentioned that this is also an important feature of New Historicism and Cultural Poetics theory,i.e.the stress on anecdotes.If considered from methodology,this is the concern and focus on non-mainstream history and the affirmation on the significance of marginal existence.New Historicism sticks to the point that anecdotes excluded from official history have "the touch of the real" and "counter-historical" features.This is the anecdote.
Chapter Three is one of the core parts of the paper.It mainly analyzes the relationship between Cultural Poetics and other criticism theories,and elaborates on the main characteristics of Greenblatt's theory from various cultural perspectives at a macro level.Section 1 is divided into three parts.The first part explains the origin of New Historicism and the main features of historical turn,the second part analyzes the theoretical development venation and the connotation of Cultural Poetics,and the third part introduces the practical theoretical context in which Cultural Poetics was born. Section 2 starts from the entanglement of Greenblatt with Marxism,analyzes the relationship between Cultural Poetics and western Marxism,and elaborates on the hidden connection between traditional Marxism and western Marxism on the one hand and Cultural Poetics on the other hand.To Greenblatt's eye,Marxism exposes the cruelty during the stage of primitive accumulation by capitalism and lifts that to the level of historical inevitability to show the bloody nature of capitalism.But such an abstract conclusion makes it easy to lose the poetic qualities of text description of the Dark Age,unconsciously summarize the sensible pain of the people to an abstract concept and then lose the stirring power of poetics.The paper further analyzes Williams and Jameson and the intertexuality between their researches and Greenblatt's theory. Section 3 makes analysis of the relationship between Cultural Anthropology and Greenblatt's theory and mentions the concepts of "thick description" and "metaphor structure".Taking a viewpoint of Cultural Anthropology,this section has a deeper discussion of the origin and features of Greenblatt's view on culture and Cultural poetics.Greenblatt maintains that everything in practical life is an expression of such "metaphor" and has hidden poetic meanings.Therefore Cultural poetics is a kind of poetic interpretation and discovery of "metaphor" within the overall scope of human culture.It is a theoretical effort to link culture and literature with every meaningful event of human life.
In Section Four,the text interpretation strategy of Greenblatt is analyzed from the perspective of readers' criticism.The purpose of placing Greenblatt's theory in the big category of readers' criticism is to highlight the importance placed by Greenblatt's text interpretation on readers' participation.Without the proactive and diversified exchanges and interaction with readers,Greenblatt's theory would have no foundation.When reading and interpretation allow readers and critics to participate in the construction of texts,there will definitely be certain political preference and ideological attitude.Such emotional and rational strength of readers by participating in the text and being activated is the "wonder" and "Resonance" called by Greenblatt.
Chapter Four writes about the text interpretation by Greenblatt of "self-fashioning" during the Renaissance and introduces the characteristics of his theory and his achievements in this field.This chapter first discusses about the theoretical development of the "self" concept in the European and American cultural tradition,and then compares Greenblatt's theory with other theories to pinpoint the characteristics of Greenblatt's theory on "self-fashioning".This part is also one major part of Greenblatt's theory.Through analysis of the works form More to Shakespeare during the Renaissance,Greenblatt found that the self-fashioning of these writers combines strong resistance against and obedience and recognition of dictatorship.These fashioning powers outside the self are God,Bible,church,court,colonization,military authority and some other authorities.When talking about self-fashioning during the Renaissance, Greenblatt said that the effect of self-fashioning is acquired through something regarded as heretical,strange or frightful and done by revolting against such heretical images.He believes that self-fashioning gradually takes shape in the contradiction,subversion and suppress with mainstream ideology and dissident factors,and such self-fashioning reflects the dynamic process when the self is suppressed and relieved during the fashioning process,and demonstrates the omnipresent inherent connection between self and power structure and ideology.His belief is closely related with Foucault's Theory of Power and Discourse.There is kind of cranny between the suppression and hindrance of mainstream ideology and people's thinking and acts.The ruling class reaches a stable balance of rule in the tension of subversion and suppress by creating dissident factors and assimilating and resolving the contradiction incurred.In other words,the self in literary interpretation is formed in the resultant force of the history,after conflicts, pursuit and fighting among various powers that shape the self.The threatening dissident factors,hidden prejudice,overwhelming ideological standard and invisible power structure are exposed in text interpretation,thus revealing the fabrication and text cranny of mainstream ideology historical course.
It is perceived by Greenblatt that "self-fashioning" is a kind of comprehensive cultural behavior which contains authorship,text representation and realization,and reading and interpretation.All those cultural activities are interrelated,repeated rather than finished once for all,and are the interaction of various meanings within a specific culture.Any human behavior is not generated in vacuum,but out of others' influence or with influence on others.So any boundary is merely a metaphysical wish and expression and demanded by some theoretical standards and cognition.
Chapter Five introduces the main content of text interpretation theory by analyzing its interdisciplinary feature.By studying the Shakespeare plays during the Renaissance, Greenblatt explains with a concrete aesthetic practice the involvement of New Historicism in different theories.Greenblatt believes that New Historicism steps in the fields of literary criticism and literature.It tends to make hypothesis of itself and other theories by its own methodology and pose questions.That is one of the most important parts of the paper.Section 1 introduces dialogism and carnival,the two features of text interpretation of Greenblatt and analyzes Greenblatt connected with Bakhtin.Dialogism and carnival are aimed to form subversion and resistance to mainstream ideology and try to avoid the formation of new academic authority and power discourse.Section 2 tells the different layers and characteristics of text interpretation.These layers are made merely for the purpose of a clearer understanding because they are an inseparable whole. This section first exposes the complex connection between art and society,history and economy.It then introduces the theory of "negotiation","circulation" and "exchange" between literary text and social energy.Greenblatt places literary text in the extensive scope pf social culture so as to melt the boundary between literary text and social text. The concepts of "negotiation","circulation" and "exchange" mentioned here are introduced by Greenblatt from the field of economic development of United States,in order to create a familiar and surprising poetic effect.To understand these concepts is pivotal to the understanding of Cultural poetics.He says that the formation of art works contains the negotiation and exchange of social energy and involves money and reputation-the dominating medium of circulation in society.Seen by Greenblatt, literary theory and criticism are never monolog exclusive to a specific field,in particular, such literary and art forms as audio and video,Hollywood films,TV shows and novels have shaped people's life in an extensive and subtle manner,and the practical matters like practical life,political power and economic benefit have in turn become the hotbed of literary works.
In addition,Greenblatt's emphasis on the context poetics nature was mainly introduced in the aesthetic effect of the interpretation of the context,that is,"wonder" and "resonance"."Wonder" and "resonance" are the two key words often used by Greenblatt and reflect his aesthetic thoughts.Though Greenblatt emphasized the ubiquitous power structure of ideology and the universal constrained upheaval and moulding,he also noticed that masterpieces surpass the ideology as the former absorbs the context elements of a certain time and creates the power of art.The "resonance" nature of literature mentioned by Greenblatt mainly refers to the aesthetic connotation of the literature context and the tension of the interrelation with various kinds of social powers that initiates and creates new context power.In this sense,literature reading is not a process of objectifying but the conflict,integration and exchanges of powers,the molding of self power and the creation of new context.
Chapter Six study the conception of power by comparing and analyzing the theories of Greenblatt and Foucault.The two theorists,though having respective characteristics,have many things in common.Actually this relation has been touched in this thesis and can't be really given a though and comprehensive analysis in this chapter alone as it is a wide issue.This chapter only studies the exercise of power and the touch of the real.For the part of "the touch of the real",it has been discussed in "the Anecdote" part before.It is really an unwilling choice to discuss it again in this chapter because all problems have to be expounded separately although it is an entirety.This is the "non autonomy" of academic research explained by Greenblatt,the internalized concept model and realistic requirement,and constrains of ideology.Greenblatt accepted Foucault's concept that sometimes power is an unpredictable kind of way of thought that determines people's behavior and destiny,and that the context is the result of "negotiation" between context and social power relating to religion,custom, psychological structure,social system,family ethics and many other aspects.Power sometimes is the potential strength hidden inside the deep of people's though and its effects appear as customs,as the illusion of warm-heartedness.It alienates the nature of people and leads to the fall and failure of the ego.To Greenblatt,these invisible contending and exercising of power are "the touch of the real" as the poetic connotation in our life.
Greenblatt used raw materials such as the finding of New World by Columbus to make analysis to revel the power conquer during the process of the mysterious colonization,which was in the friend atmosphere of presenting small gifts like glass beads.Language,knowledge and power together became the tools of colonization.This nature is the in-built reality.The touch of the real gives the found of the nature of the happenings.Colonization conquer is a kind of power conquer.The point is not in the conquer itself,but in the conquer stand,thought ways and angles that are neglected.The colonists didn't think the colonized local people are human beings just independent existence and beings same as themselves.They took them as the "others",as a kind of materialized existence.Under this circumstance,the presenting of a piece of glass bead became generosity and decent behavior,and the generous giving and obedience of the indigenous became their rights as the masters.This hidden thought formed the intangible cultural terrorism,which maintains the advantages of the occupiers and neglects the evil purposes of invasion by dehumanizing others in their thoughts.
The last part is the conclusion of the paper,which is a brief overall assessment and a multi-level review of Greenblatt's New Historicism and Cultural Poetics,a further conclusion and summing-up of the paper,and some personal opinions.In Greenblatt's view,real life,art and aesthetics are not two utterly different things,which are separated with each others.Art and aesthetics are an important level in the form of our life and they have a infiltrating,condensing and moulding factor to the real life.Aesthetic existence and live activities are not separable from the moulding and impact of social factors.The live activities of human being are impossible to be primitive form the very beginning and this determines that they are only limited single existence in their social space.To Greenblatt,the facts of real history are often hidden in the historic archives and some inconspicuous journals,diaries,paintings and anecdotes since history is segmented and not complete.So Greenblatt usually turned his attention to "histories" and tried to fred the hidden code of the history by some narrative stories.Greenblatt's analysis of social and literature text was not based totally on the analyzing of the aesthetic nature,language characteristics and other things of formism.Instead,it was the finding of the historical factors that hidden mainstream ideology and political powers through reconstructing context in the context interpretation.
The interdisciplinary feature of New Historicism is not only a striding over the subjects in the universities and the academic research institutes,but also a striding over text and social life.It is a new brand theoretical research concept that all subjects are connected with life,history are constituted with various kinds of situations and texts and those texts are connected to form the completion of culture.Historical context may be inevitable;it is more likely to be occasional stories because usually inevitability is often caused by much randomness.
To some extent,Greenblatt's contributions are that he tried to connect the academic concern of the elite scholars with all real life activities such as politics and economy.He endeavored to find the materials flowing through literature,and the art and aesthetic relics in the analysis of social context.New Historicism is to probe into the meaning of human social activities from a broad view and so it is not limited to one single area.It is interdisciplinary and all human cultural phenomena are the focus of its concern.It is a wide networking of cultural interpretation,and literature is one of the core elements of its theoretical studies.
New Historicism and Cultural Poetics of Greenblatt changed the relations between history and literature in the eyes of traditional scholars(including historicists and literature critics).History is clearly shown because of the hidden nature of context and narrative and is more connected theoretically and in the reality with literature.The reflection and discretion of literature on historical happenings not only revealed the social reality and people's everyday life conditions under a certain historic background, but also touches on the literature,political rights and ideology of that time.Greenblatt's New Historicism and Cultural Poetics changed the research domain of literature critics by unique ways of research and mode of theoretical thoughts,and exerted revolutionary influences on the historic research,and even more art categories including novels, poems,dramas,movies and TV programs.
引文
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1、斯蒂芬·格林布拉特:《俗世威尔——莎士比亚新传》,辜正坤等译,北京大学出版社2007年版。
2、盛宁:《新历史主义》,台湾扬智文化事业公司1996年版。
3、盛宁:《人文困惑与反思——西方后现代主义思潮批判》,三联书店1997年版。
4、王岳川:《二十世纪西方哲性诗学》,北京大学出版社2000年版。
5、王岳川:《后殖民主义与新历史主义文论》,北京大学出版社2002年版。
6、王岳川:《现象学与解释学文论》,山东教育出版社1999年版。
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