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本文尝试以空和有的中国传统比喻来阐明比较文学的内在逻辑。空意味着,文学并非实体,而是符号,故文学间关系应理解为符号与符号的关系,比较文学也应视为一种普遍化的交流媒介。但由此才能触及文学作为符号和虚构的现实,比较文学亦摆脱了传统文学观造成的方法论困境,恢复其中介性机制的本相。在本文作者看来,比较文学既不针对特定的(如多语的)文学作品、现象,也不自限于特定的(如跨文化的)社会现实,而应是一种特殊的交流系统。它要通过文学交流建立一个自治的世界关系系统,在系统内实现不同文学间的良性循环,从系统论立场来看,这就是一种世界治理的操作。故空最终通向了有:符号的自由游戏获得了框架和意义。
This article attempts to clarify the inherent logic of comparative literature with empty and traditional Chinese metaphors. Empty means that literature is not an entity but a symbol, so the relationship between literature and literature should be understood as the relationship between symbols and symbols. Comparative literature should also be regarded as a universal medium for communication. However, it can not touch the reality of literature as a symbol and fiction. Comparative literature has also got rid of the methodological predicament caused by traditional literature and restored the essence of its intermediary mechanism. In the author’s opinion, comparative literature is neither specific (eg, multilingual) literary works, nor is it self-limited to a particular (eg, cross-cultural) social reality, but rather a special communication system. It wants to establish an autonomous system of world relations through literary exchange and realize a virtuous circle among different literatures within the system. From a systematic standpoint, this is a kind of operation of world governance. So empty eventually leads to a symbolic free game that gains the framework and meaning.