文學(xué)筆記（第1輯）

前言

改革開(kāi)放30年以來(lái)，我國(guó)的圖書(shū)出版業(yè)發(fā)展迅速，日新月異。近10年，國(guó)內(nèi)一些出版社經(jīng)授權(quán)直接印行外版文學(xué)批評(píng)與理論的著作，并以國(guó)內(nèi)同類產(chǎn)品的價(jià)格標(biāo)價(jià)，受到大學(xué)師生和研究者由衷的歡迎。在這些圖書(shū)中，上海外語(yǔ)教育出版社從劍橋大學(xué)出版社引進(jìn)的“劍橋文學(xué)指南叢書(shū)”尤其成功，它們大大推進(jìn)了我國(guó)英語(yǔ)文學(xué)的教學(xué)與研究。20世紀(jì)下半葉是眾多文學(xué)理論各領(lǐng)風(fēng)騷的50年，文學(xué)研究的面貌大大改觀，理論家和批評(píng)家取得了與詩(shī)人、作家?guī)缀跗狡鹌阶牡匚?。正是各種文論使我們意識(shí)到，我們不能一直處于一種天真的狀態(tài)，對(duì)主導(dǎo)批評(píng)活動(dòng)的或明或暗的方法、預(yù)設(shè)和前提不加追問(wèn)。上世紀(jì)70、80年代開(kāi)始，歐美大學(xué)文學(xué)系對(duì)理論課程的需求迅速增長(zhǎng)，一些文論選本和文論導(dǎo)讀、入門也應(yīng)運(yùn)而生，有的還被譯成了中文，在大學(xué)師生中很受歡迎。這些輔助性的指南固然有其用處，但是要了解文論的精髓，我們還是應(yīng)該暫時(shí)把二手譯作放在一邊，回到原著。在一些學(xué)者的大力推薦下，外教社決定再推出“西方文論叢書(shū)”，首批五種。這些著作堪稱文學(xué)與哲學(xué)研究的經(jīng)典，其影響不必由我在此贅述。

內(nèi)容概要

　　泰奧德·阿多諾（Theodor W.Adorno，1903-1969）是德國(guó)著名哲學(xué)家、社會(huì)學(xué)家、文藝?yán)碚摷液鸵魳?lè)理論家，是法蘭克福學(xué)派的著名代表人物以及社會(huì)批判理論的奠基者。他在許多領(lǐng)域均有創(chuàng)見(jiàn)，特別是在哲學(xué)、美學(xué)以及文論領(lǐng)域，在西方社會(huì)具有廣泛而深刻的影響力?！　“⒍嘀Z的文學(xué)批評(píng)并不屬于正統(tǒng)的批評(píng)理論，他的文本處理方式既富有魅力，又幾乎無(wú)法闡釋。這意味著我們?cè)陉U釋、評(píng)價(jià)阿多諾的這些復(fù)雜多義的文學(xué)批評(píng)時(shí)，既要指出他在批評(píng)理論這個(gè)大框架內(nèi)的地位，也要考慮到他獨(dú)特的個(gè)人氣質(zhì)、行文習(xí)慣以及他慣有的自相矛盾，并辨析他的觀點(diǎn)正確與否。

作者簡(jiǎn)介

作者：(德國(guó))阿多諾(Theodor W.Adorno) 譯者：(德國(guó))Shierry Weber Nicholsen

書(shū)籍目錄

TRANSLATOR'S PREFACEEDITORIAL REMARKS FROM THE GERMAN EDITIONThe Essay as FormOn Epic NaiveteThe Position of the Narratorin the Contemporary NovelOn Lyric Poetry and SocietyIn Memory of EichendorffHeine the WoundLooking Back on SurrealismPunctuation MarksThe Artist as DeputyCONTENTSOn the Final Scene of FaustReading BalzacValery's DeviationsShort Commentaries on ProustWords from AbroadErnst Bloch's SpurenExtorted Reconciliation:On Georg Lukacs' Realism in Our TimeTrying to Understand EndgameNOTE8INDEX

章節(jié)摘錄

The social interpretation of a success like this is concerned with the stage of historical experience evidenced in the poem. In the name of humanity, of the universality of the human, German classicism had undertaken to release subjective impulses from the contingency that threatens them in a society where relationships between human beings are no longer direct but instead mediated solely by the market. It strove to objectify the subjective as Hegel did in philosophy and tried to overcome the contradictions of men's real lives by reconciling them in spirit, in the idea. The continued existence of these contradictions in reality, however, had compromised the spiritual solution: in the face of a life not grounded in meaning, a life lived painstakingly amid the bustle of competing interests, a prosaic life, as artistic experience sees it; in the face of a world in which the fate of individual human beings works itself out in accordance with blind laws, art, whose form gives the impression of speaking from the point of view of a realized humanity, becomes an empty word. Hence classicism's concept of the human being withdrew into private, individual existence and its images; only there did humanness seem secure. Of necessity, the idea of humankind as something whole, something self-determining, was renounced by the bourgeoisie, in aesthetic form as in politics. It is the stubborn clinging to one's own restricted sphere, which itself obeys a compulsion, that makes ideals like comfort and Gemiitlichkeit so suspect. Meaning itself is linked to the contingencies of human happiness; through a kind of usurpation, individual happiness is ascribed a dignity it would attain only along with the happiness of the whole.  In none of his expressive impulses does he go beyond what could be genuinely attained in his time. The muchinvoked organic quality of his work is probably nothing other than this tact, which is philosophically sensitive to history and which scarcely any other poet in the German language possessed to the same degree. The alleged pathological traits in Morike reported by psychologists and the drying up of his production in later years are the negative aspect of his very highly developed understanding of what is possible. The poems of the hypochondriacal clergyman from Cleversulzbach, who is considered one of our naive artists, are virtuoso pieces unsurpassed by the masters of rart pour rart.

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《文學(xué)筆記(第1輯)》：外研社西方文論叢書(shū)，由上海外語(yǔ)教育出版社出版。

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