当代美国批评家哈罗德·布鲁姆的文学批评经历了三个阶段:第一阶段,布鲁姆投身浪漫主义诗歌批评,在与T.S.艾略特及其新批评追随者们的抗辩中,坚持并重新阐释浪漫主义传统,强调浪漫主义诗歌创造所倚赖的自我中心主义,初步显露出自己个人化的诗学旨趣;第二阶段,布鲁姆从诗歌批评迈向诗歌理论建构,创造出自己独特的影响诗学,深刻阐扬个人与传统之间存在的“影响的焦虑”图式,其中特别强调了自我与时间的对抗;第三阶段,布鲁姆介入时下文学经典论争,展开自己独特的正典批评思路,着重关注“正典形成”问题,将正典的创造阐释为诗人追求自我正典化的审美强力角逐,并流露出自己作为强力批评家的正典身份期许。纵览布鲁姆的文学批评历程,他始终坚持密切追踪文学作者、读者、批评家三者在文本实践中的自我角色发挥,这样一条理路内在地统一了他的文学批评整体。 Contemporary American critic Harold Bloom’s literary criticism has gone through three stages: In the first stage, Bloom’s devotion to Romantic poetry criticism, in his plea with TS Eliot and his new critics, Insisting on and reinterpreting the tradition of romanticism, emphasizing the self-centeredism on which romantic poetry was created, initially revealed its own personal poetic interest. In the second stage, Bloom, from poetic criticism to the construction of poetry theory, created his own Unique poetics of influence, profoundly expounding the “Anxiety of Affect” existing between individuals and traditions, with particular emphasis on the confrontation between self and time; in the third phase, Bloom intervenes in the contemporary literature classic debate and expands himself The unique canonical criticism focuses on the issue of “formation of canon ”, interprets the creation of the canon as the aesthetic power of the poet in his quest for self-canonization, and reveals his own canonical status as a powerful critic. Throughout Bloom’s history of literary criticism, he always insists on closely following the self-role played by literary authors, readers and critics in the practice of the text. Such an approach inherently harmonizes his entire literary criticism.