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文学形式主义起源于二战后哲学(现象学)的衰退,它与思想场中结构主义的出现密切相关。萨特曾在《境况I》中宣告了某种现象学形式主义,但战后他的实践哲学和介入理论导致其作品的形式削弱,成为结构主义者攻击的薄弱环节。德里达试图找回哲学的至尊,他以尼采和海德格尔的名义,谴责结构主义威胁创造行为,揭露结构分析的技术主义,但他同时借文学形式主义摧毁逻各斯中心主义。雅各布森把诗歌行为定义为纵聚合轴在横组合轴上的投射,对海德格尔关于诗的现象学定义“言语言说的空间”进行了有效的形式化。巴特揭示出意识形态的生产和再生产机制是完全受一个语言结构事实支配的一个特定符号学系统,既颠覆又完善了萨特的思想。可以说,是文学形式主义侵入了哲学空间并推动哲学扩大其自身的界限,由此革新了哲学的问题域。
Literary formalism originated from the decline of philosophy (phenomenology) after World War II, which is closely related to the emergence of structuralism in the field of thought. Sutter once declared some phenomenological formalism in “Situation I”, but his post-war philosophy of practice and intervention theory led to the weakening of the form of his works and became the weakest link in the structuralist attacks. Derrida sought to retrieve the supreme philosophical condemnation of structuralism by denouncing structuralism as a threat to create behavior and exposing the structuralist technicalism in the name of Nietzsche and Heidegger, but at the same time he deconstructed logocentrism by means of literary formalism. Jacobson defined the poetic behavior as the projection of the vertical axis of convergence on the horizontal axis, and effectively formalized Heidegger’s phenomenological definition of “poetic space”. Bart reveals that the ideological system of production and reproduction is a system of specific semiotics that is governed entirely by the fact of a language structure that subverts and perfects Sartre’s thinking. It can be said that literary formalism invaded the philosophical space and pushed philosophy to expand its own boundaries, thus renovating the problem domain of philosophy.