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20世纪80年代后,杰弗里·哈特曼更多地关注文学批评的社会功能。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痹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。作为一种证词文学,或者一种更宽泛意义上的文学叙事,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。
After the 1980s, Jeffrey Hartman paid more attention to the social functions of literary criticism. While advocating aesthetic appreciation to its due dignity, it also opposes 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 gesture of putting an end to art. He chose the video of testimony as a way of reproducing the history of the Holocaust. As a kind of testimonial literature or a wider literary narrative, testimony video not only overcomes the objective truth of the positivist historians but also overcomes the thinking and inertia brought by the modern media culture, And imagination arouse the public’s strong feelings of the outside world, thus realizing its unique narrative function.