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二十世纪文学批评与文学理论最有影响的潮流可以描述为对于浪漫主义式和实证主义方法的一种反叛,这种方法集中于作者其人而非其文学产品。形式主义、新批评、结构主义、后结构主义都否认生理作者的重要性,仅仅着眼于文本处理。罗兰·巴特阐述了作者之死的概念,获得福柯与德里达等理论大家的激赏;在此概念提出之后的二十世纪末和二十一世纪初,作者的重要性再度获得学界重视。在包括后殖民与性别研究在内的一些新趋势中,生理作者个人化,甚至身体的经验似乎变成了文学最重要的一个层面,不过这种(仍然是)个体经验的表达被认为具有社会意义而非个人化意义。作者的再生是拒绝将文学视为自我中心的游戏,但这并不应该成为否认细读与文本分析重要性的理由;毕竟,二十世纪文学理论聚集的知识资本仍然值得运用。
The most influential trends of twentieth-century literary criticism and literary theory can be described as a rebellion against romanticist and positivist approaches that focus on the author rather than his literary product. Formalism, new criticism, structuralism, and post-structuralism all deny the importance of physiology writers, focusing only on textual processing. Roland Barthes elaborates on the author’s concept of death and receives a glimpse of the theories of Foucault and Derrida. At the end of the twentieth century and the beginning of the twenty-first century after the concept was put forward, the importance of the author was again valued by the academic community. In some of the new trends, including post-colonial and gender studies, the personalization and even physical experience of physiologists seems to have become the most important dimension of literature, although this (yet) expression of individual experience is thought to have the social Meaning rather than personal meaning. The author’s reproduction is a refusal to treat literature as a self-centered game, but this should not be a reason to deny the importance of careful reading and textual analysis; after all, knowledge capital gathered in the twentieth century literary theory still deserves to be used.