【摘要】：格林布拉特稱"文化詩學"為"一種實踐,而不是一種教義"。文化詩學以其方法論層面的實踐性、適應(yīng)性特征建立起了多元的批評圖景。文化詩學強調(diào)重構(gòu)歷史文化語境,重視軼聞等非正統(tǒng)歷史資料對文本的闡釋的重要作用,重新詮釋歷史碎片中的文化圖景。文化詩學具有跨學科的特點,尤其是與文化人類學具有親緣關(guān)系,文化詩學的批評實踐中常借鑒人類學的批評方法,其源頭可追溯到中國上世紀二三十年代的《詩經(jīng)》研究。中國比較文學學界提出"跨文化詩學",跨文化的對比研究也是文化詩學批評實踐中常運用的方法,葉舒憲先生的"人類學三重證據(jù)法"及其"高唐神女"等的批評實踐對此有所印證。在《文藝復興時期的自我塑型》一書中,格林布拉特從創(chuàng)作主體角度提出了"自我塑型",表示作家與文本在社會歷史文化的宏大語境中進行的雙向建構(gòu),這包含兩個過程,第一個過程是作家在話語實踐中實現(xiàn)主體地位的建構(gòu);第二個過程是在文本創(chuàng)作中完成對作家主體的塑型,蕭紅在其自傳性小說《呼蘭河傳》的創(chuàng)作中實現(xiàn)"自我塑型"。巴赫金提出的"外位性"概念與文化詩學具有共生關(guān)系,外位性顯示了作者在文學作品諸要素中的所處的特殊地位,為文化詩學的"作者"之維的研究拓展了思路。文化詩學認為文本的概念不僅限于文學范疇之內(nèi),而是拓展到存在于一切人類實踐活動的文化場域中的社會性文本,巴赫金的狂歡節(jié)研究即是典型。文學文本之間及其與社會性文本之間進行廣泛互文,莎士比亞的劇作與馬洛的作品產(chǎn)生互文,《紅樓夢》中的"冷香丸"就是醫(yī)學文本與文學文本互文的結(jié)果。文本與歷史之間相互交融,"歷史的文本性"與"文本的歷史性"是新歷史主義文化詩學的重要理論范疇,也是其方法論的切入點,馮內(nèi)古特的成名作《五號屠場》充分揭示了這兩個理論范疇的內(nèi)涵。社會生活的所有藝術(shù)文化文本都蘊含著"驚嘆"和"共鳴"的特性,只有通過接收者文化的闡釋才能將其詩性品質(zhì)引發(fā)出來。權(quán)力話語影響讀者的審美內(nèi)容,以此達到影響讀者意識層面的目的,掃羅和大衛(wèi)王的形象變遷即是由權(quán)力話語主導而成。人們道德價值觀的轉(zhuǎn)變影響閱讀鑒賞活動中接受主體的審美變遷,與此同時文化闡釋主體在閱讀鑒賞活動時潛移默化地受到文本所蘊含的倫理道德價值的影響,"耽美""百合"等網(wǎng)絡(luò)小說的流行對此有所印證。文化詩學認為審美體驗在讀者與文本的雙向交流和協(xié)調(diào)中得以實現(xiàn),讀者在闡釋的過程中能夠?qū)崿F(xiàn)文本意義的重建,同一文本,不同讀者的闡釋也有所不同,針對春晚小品《捐助》的紛爭恰與此契合。
[Abstract]:Greenblatt called cultural poetics "a practice, not a doctrine." Cultural poetics, with its practical methodology and adaptability, has set up a pluralistic view of criticism. Cultural poetics emphasizes the reconstruction of historical and cultural context and the important role of unorthodox historical materials such as anecdotes in the interpretation of texts and reinterprets the cultural picture in historical fragments. Cultural poetics has interdisciplinary characteristics, especially related to cultural anthropology. The criticism practice of cultural poetics often draws lessons from the critical methods of anthropology, the origin of which can be traced back to the study of the Book of songs in the 1920s and 1930s in China. The academic circles of Chinese comparative literature put forward "cross-cultural poetics", and cross-cultural comparative study is also a method often used in the practice of cultural poetics criticism. Ye Shuxian's Triple evidence Law of Anthropology and his critical practice of Gods and daughters of Gaotang have confirmed this. In the book "Self-Modification in the Renaissance", Greenblatt puts forward the "self-molding" from the perspective of the creative subject, which means the two-way construction of the writer and the text in the grand context of social history and culture, which includes two processes. The first process is the construction of the subjective position of the writer in the practice of discourse. The second process is to complete the shaping of the writer's main body in the text creation, and Xiao Hong to realize the "self-shaping" in the creation of his autobiographical novel "Hulan River Biography". The concept of "externality" put forward by Bakhtin has a symbiotic relationship with cultural poetics, which shows the special position of the author in the elements of literary works, and expands the thinking of the study of the "author" dimension of cultural poetics. Cultural poetics holds that the concept of text is not confined to the category of literature, but extends to the social text existing in the cultural field of all human practical activities. Bakhtin's Carnival study is typical. There are extensive intertextuals between literary texts and social texts. Shakespeare's plays and Marlowe's works produce intertextuals. "Lengxiang pills" in A Dream of Red Mansions is the result of intertextuality between medical texts and literary texts. Text and history are intermingled with each other. "the textuality of history" and "history of text" are the important theoretical categories of cultural poetics of new historicism and the breakthrough point of its methodology. Vonnegut's famous abattoir No. 5 fully reveals the connotation of these two theoretical categories. All the artistic and cultural texts of social life contain the characteristics of "wonder" and "resonance", which can only be triggered by the interpretation of the recipient's culture. Power discourse influences the aesthetic content of readers to achieve the purpose of influencing readers' consciousness. The image changes of Saul and King David are dominated by power discourse. The change of people's moral values affects the aesthetic changes of the subject in reading appreciation, while the cultural interpretation subject is influenced by the ethical and moral value contained in the text. The popularity of Internet novels such as Daimei and Lilium has confirmed this. Cultural poetics holds that aesthetic experience can be realized in the two-way communication and coordination between the reader and the text, the reader can reconstruct the meaning of the text in the process of interpretation, and different readers have different interpretations of the same text. In view of the Spring Festival Gala essay < donation > dispute is exactly in line with this.
【學位授予單位】：安徽大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I0

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