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詹姆逊《处于跨国资本主义时代中的第三世界文学》一文以鲁迅为例阐发“民族寓言”说,此后,“民族寓言”说成了“第一世界”观察“第三世界”以及“第三世界”自我省思的最重要的理论借镜。不过,学术界很少注意到,“民族寓言”说和日本鲁迅研究大家竹内好的“近代的超克”论在文学(文化)与政治的关系和重建主体性这两个核心观点上具有极强的相似性,而相似性的背后,则是他们对于介入的、批判的“政治知识分子”的呼唤。正因为热衷于介入和批判,他们共同关注到了兼具知识分子与斗士双重身份的鲁迅。这种看重政治性、忽略审美性的征用手法恰恰反映了第三世界文艺在进入第一世界视野时的一种普遍状态。
Jameson’s “Third World Literature in an Era of Transnational Capitalism” states that “ethnic fables” are based on the case of Lu Xun. After that, “national fables” have been described as “the first world ” observation “The Third World” and “The Third World” self-reflection of the most important theory by the mirror. However, academics seldom notice that the “national fables” say that the study of “good supernaturalism in modern times” made by Lu Xun and Japan is very much at the core of the relationship between literature (culture) and politics and the reconstruction of subjectivity Behind the similarities are the calls they make to the involved and critical “political intellectuals.” Because of their keen intervention and criticism, they are all concerned about Lu Xun, who is both an intellectual and a fighter. This acquisition of political importance and neglect of aesthetics precisely reflects the general state of Third World literature and art as it enters the worldview of the first world.