美国非裔作家拉尔夫·埃利森和俄罗斯文学批评家米哈伊尔·巴赫金都是被边缘化的思想家,他们的边缘身份成就了他们各自的文学批评思想。有着正规音乐教育背景的埃利森,成功地将美国黑人音乐中的呼应模式运用于文学创作中,赋予了黑人音乐更丰富的历史文化内涵;巴赫金则从陀思妥耶夫斯基的文学创作中,看到了将音乐理论运用于文学创作的巨大潜能,并确定了一种风靡于整个人文科学领域的对话主义。边缘化可能成为理论的温床;音乐可以成为文学和文化理论的催生剂;埃利森文学叙事中的呼应模式与巴赫金文学批评中的对话理论或内在对话过程既有相通之处,也有相异的一面,它们是不同文化背景下产生的人类思想交流方式和生存模式,具有重要的文学意义。对两者进行比较,可以深化埃利森的文学思想研究,凸显埃利森对美国文化研究的开拓性贡献。 American Afro-American author Ralph Ellison and Russian literary critic Mikhail Bakhtin are both marginalized thinkers whose marginalized identities made their respective ideas of literary criticism. Ellison, with a formal music education background, succeeded in applying the echoes of African-American music to literary creation, giving the blacks more richer historical and cultural connotations. Bakhtin’s theory of Dostoevsky’s literature In his writing, he saw the tremendous potential of using music theory in literary creation and identified a kind of dialogism that has swept the entire humanities field. Marginalization may become a hotbed of theory; music may become a catalyst for literary and cultural theory; echoing patterns in Ellison’s literary narratives have both similarities and differences with the dialogue theory or inner dialogue in Bakhtin’s literary criticism They are the modes of exchange and survival of human thought produced under different cultural backgrounds and have important literary significance. Comparing the two can deepen Ellison’s literary thinking and highlight Ellison’s pioneering contribution to American cultural studies.