论文

喻象阐释与现代主义阐释学

摘要

在整个作品体系之中,奥尔巴赫事实上建构了一种特殊的文学理解方法。其重要性在于,这种阐释学源于他数十年如一日地沉潜于喻象阐释,这是一种本质上属于基督教传统的解读方式,他为之考镜溯源,追踪到了上至罗马晚古,下达中世纪。从“喻象阐释”之中,又兴现出一种十足现代主义的批评视点。以这种视点去看摹仿论,则取决于喻象理解的结构而非文学现实主义的素朴学说,其渐渐从奥尔巴赫的阐释学之中显山露水,即摹仿论乃是一种语言喻象。在《摹仿论》中,摹仿作为这种喻象历史的独特主题,本身就是一种现实借以主观地转化为文学的喻象结构,而非直接通达一种文本之外的现实。摹仿是一种修辞——摹仿的“历史”成为一个已经作为喻象结构之喻象故事。文学的“现实”永远是被再现的现实,即一种修辞行为的意向性与淡泊性创造物。

作者

雅克布·霍温德(Jacob Hovind) 雅克布·霍温德,美国马里兰州陶森大学、明尼苏达大学英语和比较文学教授,主要研究方向为世界文学、犹太文学、诺贝尔文学,发表过关于贝克特、奥尔巴赫、爱丽丝·芒罗、石黑一雄等作家的论著和论文。
胡继华 ,北京第二外国语学院哲学研究中心教授,主要研究方向为美学和中外近代思想史。

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喻象阐释与现代主义阐释学

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