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本文着重探索后东方学理论与比较文学、文化批评及全球化理论关系的来龙去脉。如果形式主义文论侧重美学形式,而继后的文化批评侧重文学的文化/政治含义,那么,后东方学理论则是对二者的兼容,从而避免了观念与实践的极端性,让我们有可能超越仍充满活力、仍富有挑战性的文化批评理论和后殖民主义理论,去迎接后东方学理论的新时期。作者以贝克特小说《梦幻中的美女与庸妇》(Dream of Fair to Middling Women)为例,阐述了如何从后东方学理论角度去揭示中国音乐与文化对贝克特小说美学观(元小说)及伦理观的影响。纯粹的美学批评和纯粹的文化批评都只能顾此失彼。由于该小说尚无中译本及其它原因,贝克特与中国文化的内在关系在国内,甚至国际,还鲜为人知,而这个古老的文化正是贝克特小说创作灵感的发源/缘地。可见,揭示这个源/缘文化对贝克特小说的影响不仅能够确立东方文化在其小说创作中占有的重要地位,而且能更准确、更客观地评价他小说创作的历程和他对戏剧传统的接受。
This article focuses on exploring the context of post-Orientalism and comparative literature, cultural criticism and the theory of globalization. If the formalist literary theory focuses on the aesthetic form, and the subsequent cultural criticism focuses on the cultural / political implications of literature, then post-Oriental theory is compatible with both, thus avoiding the extremeness of ideas and practices, allowing us to May go beyond the still vibrant and still challenging cultural criticism theory and postcolonial theory to meet the new era of post-Oriental theory. Taking Beckett ’s novel “Dream of Fair to Middling Women” as an example, the author expounds how to uncover the influence of Chinese music and culture on Beckett’ s aesthetics (meta novels) from the perspective of post - oriental theory. And the impact of ethics. Pure aesthetic criticism and purely cultural criticism can only ignore one another. Because there is no Chinese version of the novel and other reasons, Beckett’s internal relations with Chinese culture are still unknown at home and even internationally. This ancient culture is the source / origin of Beckett’s novels. It can be seen that revealing the impact of this source / genre culture on Beckett novels can not only establish the important position Oriental culture possesses in his novels, but also evaluate his novel creation more accurately and objectively and his acceptance of the drama tradition .