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当代西方文论将“怀旧”(nostalgia)与后现代混搭在一处,这种思路并非只源于詹明信的个人兴趣。事实上,它也存在于哈琴与詹明信有关戏仿(parody)与仿拟(pastiche)的长期争论中。对詹明信来说,“怀旧”显然没有那么广义飘渺而又怅然若失,他直接把怀旧与电影结合(并列)起来、作为例子,用以凸显一个至关重要的后现代文艺策略——(仿拟)“pastiche”。这个策略具有决定性,詹明信把它视作“后现代主义目前最显著的特点或者手法之一”。然而他并未采用直接定义的方式来诠释pastiche,而是将其引入与“风格”和“戏仿”的比较之中。虽然詹明信在他众多的著作里未曾明确地辨析“怀旧”与“pastiche”的关系,但显然在他那里这两个概念趋于一致。
Contemporary Western literary theory mixes “nostalgia” with “postmodernism” in a way that is not based solely on Jameson’s personal interest. In fact, it also exists in the protracted debate between Harkin and Jameson about parody and pastiche. For Zhan Mingxin, “nostalgia” is obviously not so generalized as ethereal, he directly combines the nostalgia with the film (side by side) as an example to highlight a crucial postmodern literary strategy - ( Imitation) “pastiche ”. This tactic is decisive and Zhan believes it as “one of the most prominent features or tactics of postmodernism.” However, instead of interpreting pastiche in a straightforward way, he introduces it into a comparison with “style ” and “parody ”. Although Jameson did not explicitly distinguish the relationship between “nostalgia” and “pastiche” in his numerous writings, it is clear that the two concepts tended to coincide with him.