摘要
《剑桥中国文学史》的写作观念以"文学文化史"为中心,对立于在国内文学史写作中尚处主流位置的标准叙事。如果说标准叙事有一种上浮倾向,专注于浮在最上层的经典的最动人之处;"文学文化史"叙事则一再下沉,最后回到当时完整的文化语境中,为挽救后代曲解作品寻求最充分的历史参照。在这个意义上,文本语境与文本一起,成了文学史中心。文本因被试图放入原生语境,而从多角度获得了新的研究方法,包括文本来源、文本选择、文本特征、文本间关系等方面,推动文学研究变得空前丰富、立体。同时,虽然《剑桥中国文学史》编撰者在理论上具有历史主义的执着,但在实际写作中,有时也会遵循某种"中间路线",即更新部分内容,但大体上仍复制标准叙事。
＂History of literary culture＂, the main research approach of Cambridge History of Chinese Literature,is on the opposite side of standard narrative, which is still the main stream method of literary history writing in China. Standard narrative pays much attention to the most attractive points of great classics, while ＂history of literary culture＂ returns to a wholecultural context, which could correct the distortion of historical literary works by later scholars effectively. In this sense, both context and text become the center of literary history. Then text, put back into its context, finds its new research approaches unprecedentedly.Nevertheless, although the editors of Cambridge Histo of Chinese Literature persist on historicism theoretically, they have to take amiddleline in their actual writing.
出处
《学术月刊》
CSSCI
北大核心
2017年第5期128-134,127,共8页
Academic Monthly
关键词
《剑桥中国文学史》
文学文化史
标准叙事
Cambridge History of Chinese Literature, history of literary culture, standard narrative
