摘要
解释诗歌象征与小说言外之意、古典审美规范与怪诞审美规范这两对对应范畴 ,可以说明巴赫金的怪诞美学思想与小说理论之间的内在联系。怪诞不是对古典规范的偏离 ,而是与古典规范并存的地位相当又彼此补充的一种规范 ,巴赫金的这一思想为我们探讨历史诗学研究中怪诞小说审美因素的特征问题提供了理论依据。在19世纪与 2 0世纪的非诗歌艺术作品中 ,各种“纯粹的”怪诞形式表现出以下突出特点 :(1)文学的主体形象是以不同意识之间边界的转换为基础建立起来的 ;(2 )统一的和直接的描绘法让位于逆向的描绘法或者被它所取代 ;(3)就小说修辞而言 ,在各种双声性话语的变体中 ,具有“内在对话性”(与“双体性身体”完全类似 )
The pair of contrastive categories, viz., interpretation of symbolism of poetry and implication of fiction and criteria of traditional aesthetics and fantastic aesthetics, must be introduced to explain the internal link between Bahchin’s fantastic aesthetics and fiction theory. Fantasy is not a deviation from classic criteria, but a co-existing equivalent and supplement to them. This view of Bahchin’s offers a theoretical basis for exploring the aesthetic features of fantastic fiction in studies of historical poetics. Between the 19th and the 20th century, diverse “purely” fantastic forms in non-poetic works showed the following striking characteristics: First, the image of the subject of literature gets established on the basis of transformation of the boundaries of different ideologies. Secondly, a reverse description takes the place of or simply replaces the universal and direct description. Finally, for rhetorics of fiction, diverse bisonic discourse of “inner dialogicity”(totally similar to “bisexual body”) dominates diverse variations.
出处
《陕西师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2005年第2期17-20,共4页
Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)
关键词
巴赫金
怪诞美学
小说诗学
Bahchin
fantastic aesthetics
poetics of fiction
