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从萨德到塞林,法国文学与哲学的合流现象极为明显。在论及法国现代派文学和后现代派文学的时候,我们似乎完全可以接受不同于传统概念的哲学。文学与哲学术语关系的问题已不再是泾渭分明的学科问题,而是作品自身的问题。法国作家注重的是多重的表达形式。通过这种形式,文学家可以“名正言顺地”从事起哲学。文学与哲学进入了同一个网络,或互为转换,或合二为一。就文学创作而言,法国作家刻意构思的往往是作品的思想标记,或文本内部意义丰富的符号,因为在他们的心目中,文学创作只不过是一种行为手段而已,其首要任务是进行哲理思考。
From Saad to Salin, the convergence of French literature and philosophy is extremely evident. When it comes to French modernist and postmodernist literature, it seems perfectly acceptable to us that philosophy differs from traditional concepts. The relationship between the terminology of literature and philosophy is no longer a matter of distinct disciplines, but of the work itself. French writers focus on multiple forms of expression. Through this form, writers can engage in philosophy “justly”. Literature and philosophy entered the same network, or converted from one another, or combined. In terms of literary creation, French writers deliberately conceptualize their works as ideological markers or symbols of richness within the text, for in their minds literary creation is merely a means of conduct, and its primary task is philosophical Thinking.