摘要
罗兰·巴特提出的“作者之死”,宣告了文学研究从此告别“作品论”的古典批评,进入“文本分析”的新时代。但为了诞生真正的读者,他力主在空间上“作者”应退到舞台的一隅,其形象应不断变小;在时间上“作者”与“书写物”,不再像“父与子”的关系,而是所有“文本”都是“现在·此地的书写”。这一无限消除“作者”在“文本分析”中作用之理念,引起了学界的广泛争论乃至疑惑。日本学者田中实的“第三项”论,在承接此理论的基础上,通过明确设定“文章的客体自体”即“第三项”,弥补了“作者之死”的理论漏洞,建构了多元世界并置的“后·后现代”理论,超越了“后现代”视野下的文学批评范式。此原理以旧我的瓦解与新我的重构为旨归,为当下文学研究的混乱局面吹来了新风。
“The death of the author”,proposed by Roland Barthes,announced that literary studies had bid farewell to the classical criticism of“work theory”and entered a new era of“textual analysis”.However,for the birth of a true reader,Barthes advocated that“the author”should retreat to a corner of the literary stage in space,with his/her image diminishing;in terms of time,“the author”and his/her“writing”should no longer be like“father and child”,but all“texts”are“writings here and now”.This idea of infinitely eliminating the role of“the author”in“textual analysis”has aroused widespread debate and even doubts in the academic community.Based on this theory,Japanese scholar Minoru Tanaka’s theory of“the third item”makes up for the theoretical loophole of“the death of the author”by explicitly setting up“the object self of the text”,namely“the third item”,and constructs a“post-postmodern”theory of juxtaposition of multiple worlds,transcending the literary criticism paradigm under the“postmodern”vision.This principle aims at the disintegration of the old self and the reconstruction of the new self,bringing a new wind to the current literary research.
作者
霍士富
李娇
Huo Shifu;Li Jiao
出处
《江海学刊》
CSSCI
北大核心
2022年第2期246-254,256,共10页
Jianghai Academic Journal
