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本文集中关注20世纪80年代后当代美国学者杰弗里·哈特曼的批评主旨。作者指出,哈特曼更多地关注文学批评的社会功能,他在主张赋予审美以其应有的尊严的同时,也反对文学研究对社会学的过度忽视。因此,他以大屠杀研究为突破口,将维护艺术自身形式要素特征和杜绝艺术麻木不仁的防御姿态结合起来,选择了证词录像作为再现大屠杀历史的方式。作为一种文学叙事,证词录像既克服了实证主义史学家所称的客观真实,又克服了现代媒体文化带来的思维和精神惰性,以艺术的真实和想象唤起大众对外在世界的强烈感受,从而实现了其独特的述行功能。
This article focuses on the critical thrust of contemporary American scholar Jeffrey Hartman after the 1980s. The author points out that Hartmann paid more attention to the social function of literary criticism. While advocating the aesthetic dignity, Hartmann objected to over neglect of sociology in literary studies. Therefore, he combined the study of genocide as a breakthrough to maintain the characteristics of the elements of art itself and the defensive posture of putting an end to art. He chose the video of the testimony as a way of reproducing the history of the Holocaust. As a kind of literary narrative, the testimonial video not only overcomes the objective truth of the positivist historians, but also overcomes the thinking and mental inertia brought by the modern media culture, arouses the public’s strong feeling to the outside world with the real and imaginary art, In order to achieve its unique features.