国内爱伦坡研究现状.doc

国内爱伦坡研究现状.doc 文学评论 4 2 0 0 8 年第10 期安徽文学 爱伦坡国内研究现状 ◎龚玥竹 (四川大学文学与新闻学院四川•成都610064) 摘要本文通过对历来爱伦坡的译介情况及对其诗歌和小说研究侧重的介绍，结合近几年来爱伦坡国内研究的趋势，勾画出了国内爱伦坡研究的现状，以期对国内爱伦坡研究有一个整体的把握。 关键词 爱伦坡 国内研究 在梳理研究现状之前，先对国内对爱伦坡的译介作点介绍。首先，值得注意的是，国内爱伦坡研究并没有经历从肯定坡诗歌价值再到小说价值的转变过程。国内最早出版的坡的文学作品集是1982 年由人民文学出版社出版的陈良廷、徐汝椿和马爱农三人翻译的《爱伦坡短篇小说集》?。自90 年代中期开始，才陆续由多个译者，不同出版社翻译出版了坡的选集?。且这些选集多为坡的短篇小说集，这也反映出国内一直对坡的小说的重视要甚于诗歌。不仅如此，目前也没有出版过坡的全集。再者，对比国外坡研究的特点，国内在译介上就比较滞后了显得，对坡生平的介绍仅是在各选集前会有简单的介绍，目前为止，没有翻译坡的传记的翻译作品出现。也没有评论坡的书籍的译本，及坡的评论集的译介。 接下来，再看国内坡的研究情况。目前研究坡的专著很少。2003 年四川人民出版社出版了何木英编著的《埃德加•爱伦•坡研究》，2006 年北京师范大学出版社出版了任翔的 《文化危机时代的文学抉择——爱伦•坡与侦探小说探究》?，2008 年学林出版社出版了朱振武主编的《爱伦•坡小说全解》?。这同样反映出国内研究重小说轻诗歌，且深入细致的 研究不多。 而另一方面，研究坡的学术论文较多，涉及坡的诗歌，小说和文学批评。诗歌方面，主要是就坡的几首很有名的诗作，如《乌鸦》等作出赏析或从精神 分析 定性数据统计分析pdf销售业绩分析模板建筑结构震害分析销售进度分析表京东商城竞争战略分析 传统，死亡主题等剖析。 小说方面，研究的文章较多。有对坡短篇小说主题意义的探询，也有从单一批评方法切入展开批评。也有将对坡小说的研究放置在一个传统下或一个背景下考察，如研究坡与哥特 式小说传统或将坡放置在美国短篇小说的流变与发展下考察。当然，也有比较性的研究。文学批评方面，对坡研究得不深入且成果不多。值得一提的是，这其中，有很多是研究坡的 硕士毕业论文。 总的来说，因为对坡的译介比较晚，国内对坡的研究没有跟上坡传记研究的传统，也没有时间重视到坡诗歌的价值，就直接跟上了坡国外研究的第二阶段。就象国外坡研究第二阶 段，重视坡的小说，开始有以精神分析研究坡的传统，所以国内刚开始研究坡的学术文章多用精神分析来分析坡的小说，到国外批评理论涌现，传播到国内，对坡的研究也出现了相应 的多种解读方式，而后，国内又相应有了以女性主义等来解读坡小说的学术文章。但是应该指出的是，当国外坡研究已经趋向做一些跨领域的文化关联研究(如研究坡与音乐，坡与出 版业等)，及出现研究坡与流行文化关系的趋势时，国内的坡研究还没有跟上这一步伐。客观的说，近30 年以来，国内的坡研究经历了刚开始时停留在对坡简单介绍的阶段后，就一 直处在相当于国外坡研究的第二阶段，而且学术文章不少，专著不多。 注释: ?1979 年上海译文出版社出版的由伍蠡甫主编的《西方文论选》已经收录了坡的文学评论《诗的原理》的节选。 ?1995 年03 月由(北京)三联书店出版《爱伦•坡集》(上下卷)，曹明伦翻译，同年，曹明伦译《爱伦.坡集——诗歌与故事》也问世，1998年04 月由四川人民出版社出版了也是曹明伦翻译的《爱伦•坡幽默小说集》，1999 年04 月安徽文艺出版社出版了曹译《爱伦• 坡精品集》(上下卷)(在这个精品集中收录了曹明伦分别于1998 年和1999 年发表在《中外诗歌研究》上的两篇坡的最重要的文论《创作哲学》和《诗歌原理》。)1999 年，沈阳出版社出版坡短篇小说选集《莫格街谋杀案》，2000 年1 月选集《爱伦坡的诡异王国》，朱璞瑄译，由中国对外翻译出版公司出版。2000 年09 月北京燕山出版社出版《怪异故事集》，2002年文化艺术出版社出版选集《摩格街谋杀案》，2004 年09 月安徽文艺出版社出版选集《金甲虫》，2005 年10 月台湾商周文化公司出版选集《黑猫:爱伦坡惊悚故事集》，2006 年1 月国际文化出版公司出版陈良廷等翻译的《爱伦•坡小说精选》，同月，又由中国戏剧出版社出版了这本《爱伦•坡小说精选》，归入名家名译世界文学名著文库，2006 年6 月北京燕山出版社重新再版了《怪异故事集》。 ?此书从19 世纪西方文化危机的角度来审视爱伦•坡的生命和艺术，并且把侦探小说视为在文化危机之中人类对于精神困境的一种反应。作者觉得侦探小说看似以消遣为目的，却是文化的一种差异书写方式，是文化精神的曲折呈现。但是可能作者忽略了坡写所谓侦探小说并不是以消遣为目的。 爱伦.坡的哥特式小说，甚至可以更准确的称之为心理式哥特小说，因为他通常都把他的人物放到他所创造的环境中，着重心理描写，并且心理活动刻画得细腻、准确、真实。再利用恐惧的特殊力量，打破社会为人铸造的外壳，把人从世俗观念的束缚中解放届来，以便能进入到人的灵魂深处，揭示人类最隐秘的内心活动，展现人最原始的本能及需求，或者暴露平常连自己都不愿或不敢面对的丑恶。他以丰富的想像力和对自己心灵的探索，写下了无数不朽的作品。 坡说过:“一个美丽的女人的死亡无疑是世界上最具有诗意的主题。”而恐惧，则是人类心灵深处最永恒的主题。 爱伦?坡通过侦探小说虚拟了一个诡异的世界。《文化危机时代的文学抉择》一书的作者认为，侦探小说看似以消遣为目的，却是文化的一种差异书写方式，是文化精神的曲折呈现。 爱伦?坡确实是谜一样的作家，当属美国甚至整个世界文学史上最难解的作家之一。正因为他像谜一样难解，因而充满了魅力。研究者面临难解之谜时，有时其研究工作不免无奈地变成了猜想。在这种情形下，文学研究角度的选择就变得非常重要。 任翔的新著《文化危机时代的文学抉择——爱伦?坡与侦探小说探究》(北京师范大学出版社，2006年12月版)，表明了一种尝试——将一个作家以及同这个作家相联系的文学类型看作是一种文化现象，从哲学上来加以探索。我们不妨把这种视角称之为“文学研究的文化论”视角，这一视角多少受到了詹明信在20世纪90年代初期所提出的“文化论转向”的影响。一般说来，“文学研究的文化论视角”具有两个方面的要点，一是超越孤立研究作家、文本和文类的形式主义倾向，在坚持内部研究的同时又展开历史文化的宏观注视;二是超越文学审美体验的层面，寻求文学与哲学的对话。 《文化危机时代的文学抉择》的作者长期从事侦探小说这一文学类型的研究，本书是作者在博士论文基础上扩充而成的。作为一篇有独到见解的学位论文，其显著特色是从19世纪西方文化危机的角度来审视爱伦?坡的生命和艺术，并且把侦探小说视为在文化危机之中人类对于精神困境的一种反应。文学，即使是表面上看来以消遣为目的的侦探小说，也是文化的一种差异书写方式，是文化精神的曲折呈现。有人预言人类在一步步地走向世界末日，因为人类在积累罪孽。如果这种预言所言非虚，那么，19世纪确实成为文化的一个紧迫时代，紧迫的现代性要求精神自我调校，重新确立价值重心，建构终极信念。在这个意义上，爱伦?坡个人的生命苦恼和心灵忧郁同整个欧洲的危机和美国的焦虑相融合。在这一个体与文化的遭遇中，作家通过诗歌建构了一个唯美的世界，通过侦探小说虚拟了一个诡异的世界，前者淡泊忧伤，后者惊心战栗。无论是美，还是诡异，其中都蕴含着一种精神的祈求，表现了一种对理想的执著。从这个角度看来，爱伦?坡的悲情、诡异以及魅力，都是以内在直观来再现一种形而上的真理，渴求引领生命臻于完美的升华。 文学的文化视野与文化的文学见证，这种研究途径势必引出文学与哲学的对话，而这构成了本书的第二个特征。从文化的视野中看文学，文学与哲学花开并蒂，只是在历史发展过程之中才各表一枝。文学拓展了哲学的生命维度，哲学深化了文学的意蕴，以至文学与 哲学的对话不仅成为人文学科文化转向的焦点，而且为人文学科的理论创新提供了生长点。在文学与哲学之间寻求对话，就是希望能在文学审美境界中领悟哲学的精神，在哲学视野中烛照文学审美的韵味。本书在哲学与文学的对话方面作了相当可贵的探索。这表现在三点上:第一，从爱伦?坡的人生体验之中挖掘爱与死亡的辩证法，将生命哲学的主题贯穿在整个论述过程之中。就侦探小说这一文类来说，作者发挥的观点是:它展示了人类生命对死亡霸权的悲剧抗争。第二，从爱伦?坡的书写个性之中开拓出语言论哲学，特别是把爱伦?坡与卡夫卡、德里达以及拉康的语言哲学传统加以联系，展开了一种文化危机之中的价值寻求。第三，从爱伦?坡精神的总体矛盾之中窥见了“灵知主义”的影子，并试图在考察文化危机之中复活在爱伦?坡身上的基督教异教精神及其渊源。从作家的生命体验、书写个性和总体精神矛盾着手，该书展开了文学与哲学的对话，所得出的结论对于文学研究颇具启示意义。 从哲学、文化角度看文学，过头了也可能会导致一种巨大的偏差，那就是完全脱离文本推演哲学，完全放弃内在研究而转向外部考察，从而断送了文学之中所蕴含的审美神韵。该书作者没有过分屈服于哲学的诱惑，没有沉陷于思辨概念的网络之中不能自拔。本书的第二章到第四章分别研讨了爱伦?坡的书写、侦探小说的智性结构、侦探形象，而这一切都是在文本分析之中完成的。文化视野没有成为一种外在的构架，哲学观念也没有成为一种抽象的概念，文本分析赋予了文化、哲学一种直观性。直观越多，睿见越深，睿见与直观的合一则是文学和哲学对话、文本与文化交融的一种理想境界。 如果说，侦探小说在19世纪的崛起是文学领域的一个异数，那么侦探小说在20世纪与大众文化的汇流则使这个异数成为常数了。如何看待侦探小说,如何审视大众文化,侦探小说作为世俗神话的功能究竟在何处,该书作者没有回避这些问题，而是通过文类历史的考察作了一次研究范式的诉求。从侦探小说到谋杀艺术，从谋杀艺术到犯罪小说，最后到后现代反侦探小说。在作者看来，这表明侦探小说从“生命的隐喻”向“社会的镜像”转换，其中还隐含着意识形态的回归。所以，作者将文化视野与文本分析结合起来，将哲学沉思和生命体验结合起来，将神圣精神与世俗文学结合起来，暗示某种文学研究范式的转型，这就是结语中所提出的问题之意义所在，从而使本书具有了较高的学术价值。 author's work by examining the events of the writer's life. By becoming familiar with the life of a writer, the reader ascertains how the text may reflect the circumstances of that which the author endured. Learning about Poe's life and studying his works, Polonsky admits that "the word 'aesthetic' does not occur in Poe's literary, critical or theoretical writings." She further acknowledges that Poe achieves an aesthetic, or artistic, impression in his writings. Poe manages this by creating what he terms the "Philosophy of Composition." Poe's "Philosophy of Composition" is basically a guideline that he created to determine what separates "art" from "fiction." According to this guideline, Poe believes the author must decide the purpose of the work, and the desired reaction from the reader. Secondly, Poe asserts the author can find ways to achieve this result by considering the theme, the plot, the setting, and the characters as well as the central conflicts within the story. According to Polonsky, the "Philosophy of Composition" is the source of Poe's "aesthetic theory." Poe's "Philosophy of Composition" can be applied to several of his works. Following this theory, when examining a piece of literature, the reader should first consider the author's intent. Understanding Poe's history, it is easy for the reader to understand that Poe's dark, Gothic roots could have been planted early in childhood. Secondly, the reader should thoroughly examine the plot, characters, setting and theme to find ways the author accomplishes the intended goals. Careful examination of word choice, theme, setting and character conflicts will reveal the ways in which Poe attains his literary goals. Aesthetic | Gothic Fiction | Gothic Literature | Literary Theory Poe's "The Black Cat" can be examined using his "Philosophy of Composition." In this story, Poe begins by clearly stating "The Black Cat" will be "the most wild yet most homely narrative" which he has written thus far (223). The narrator further states, "I neither expect nor solicit belief" (223). The opening lines of the story seem to suggest Poe's intention was to invoke terror in the reader. Not only is this story wild and scary, it is so scary beyond belief, that the narrator realizes it may be too much for the reader to believe. While the narrator claims, "Yet, mad I am not," he soon after admits he made use of "intemperate language to my wife . . . I even offered her personal violence" (223,224). He admits "my disease grew upon me-for what disease is like Alcohol!" (224). All of these words are chosen to evoke fear in the reader. Understanding the narrator's desire to claim normalcy, the reader sees through his ironic claim to the dangers he admits in this confession. The second step of Poe's "Philosophy of Composition" is for the author to find ways to achieve the intentions in the text. Therefore, the reader must examine the text to decide how Poe achieves his intention of scaring the reader. Using his traditional Gothic style, Poe uses his setting and theme to invoke fear, as well as the character's madness and inner conflict. Planting the seed of the traditional supernatural beings in Gothic literature, the narrator comes home drunk one night and claims "the fury of a demon instantly possessed me" as he attacks Pluto (224). Later, Poe uses another supernatural image as the narrator claims "The monster, in terror, had fled the premises forever"(229). Calling the cat a monster confirms he has lost touch with reality and is swimming in madness. The narrator feels a "longing of the soul to vex itself--to offer violence for its own nature--to do wrong for wrong's sake only" (225). Again, going back to the traditional Gothic writing style, Poe shows the narrator struggling with the darker side of human nature and internal conflicts which effectively convinces the reader that the narrator is insane. Another element that Poe uses to summon fear is his description of the house after the fire. As in Gothic tradition, the narrator "visited the ruins. The walls, with one exception, had fallen in" (225). Ruins and destruction are common elements of Gothic literature which help paint the picture of a terrifying setting for the reader. Poe's "Philosophy of Composition" helped him follow guidelines to create aesthetic fiction. Aesthetic fiction paints a picture for the reader instead of merely tells the story. Anyone can tell a story, it takes remarkable talent to aesthetically illustrate the story to the imagination of millions of readers using limited tools-- tools like plot, setting, theme, characters and conflicts. Poe aesthetically shows many readers why they should be afraid rather than merely telling them to be afraid. Gothic Fiction | Gothic Architecture | Edgar Allan Poe There are stories that make a person's hair stand on end and that make their blood run like a magenta, icy-cold river. What causes these feelings of terror? Edgar Allan Poe knows the answer to this question. Poe's stories are credited to be some of the best Gothic fiction ever written. His work was considered unique for its time, and it still holds a certain uniqueness that has yet to be matched. His works have characteristics that are identifiable in every story, and they make known to the reader that "this is indeed the work of Edgar Allan Poe." The settings always contain the common characteristics thought to belong in a true horror story. There are strange components present in every story. There are always horror-filled endings. Is a person more likely to be scared in broad daylight with the birds chirping, or in the gloomy shadows of darkness with the silence screaming out loud? The answer is obvious. In Poe's stories "The Tell-Tale Heart," "Hop-Frog," "The Cask of Amontillado," and "Ligeia," the setting is night time. Sunlight is thought to be representative of good, and darkness is thought to be representative of evil; therefore, the presence of darkness is certain to be in a Poe story. Take into account the location in a story. Nothing makes for a better horror-scene that a damp, dark, ominous castle. One of the most important elements of a Poe story is the architecture. It is usually of a Gothic nature. A foreshadowing of evil immediately becomes evident when reading from a description of the narrator's new home in Poe's "Ligeia": "I purchased an abbey...The gloomy and dreary grandeur of the building, the almost savage aspect of the domain...had much in unison with the feelings of utter abandonment which had driven me into that remote and unsocial region of the country." There is a sense of dark seclusion that puts the reader in a feeling of ominous suspense. In "The Cask of Amontillado," the main scenes take place in damp catacombs. Along with the time of night, such locations set the horrifying mood of Poe's stories. Gothic Fiction | Gothic Architecture | Edgar Allan Poe In Poe's stories, there is always the eerie presence of strangeness. Poe uses the elements of oddities and strange occurrences to give his stories a unique feeling of "not-of-this-world." In "Hop-Frog", one of the central characters is a crippled dwarf. Strangeness is a factor associated with bringing feelings of discomfort and grotesque horror. In "The Tell-Tale Heart," the narrator, speaking about an old man's eye, relates that "whenever it fell upon me, my blood ran cold; and so by degrees-very gradually-I made up my mind to take the life of the old man, and thus rid myself of the eye forever." , revealing what can only be madness. A man decides to kill another man on the basis of an eye? Poe uses the element of madness, of what is under the shadow of "the unknown," to bring a strange mystery into his plots. The greatest element in all of Poe's stories, what could be called his "signature", is the certainty that there will always be a gruesome horror-filled ending. A terrifying occurrence will always happen. Although Poe's stories are short stories, he always takes the time to let the reader get acquainted with the narrator, and then uses the reader's trusting familiarity with the narrator to make the endings all the more scary and surprising. He shares the "madness" that the narrator feels, but still gives the conclusion such a twist that the reader can't help but be shocked. In "The Cask of Amontillado," the reader knows that the narrator harbors a hatred of the character Fortunato, but when the narrator bricks him into the wall of the catacombs, the reader still feels horror and shock from such a gruesome conclusion. In "Hop-Frog," the reader knows that Hop-Frog is planning something, but when Hop-Frog sets the kings and his attendants aflame, the reader feels gruesome-filled surprise from the disgusting murder and from Hop-Frog's obvious pride and lack of remorse in his words in the last scene: "I now see distinctly...They are a great king and his seven privy councilors...I am simply Hop-Frog, the jester-and this is my last jest." How could he say such a thing when corpses are hanging from a chandelier? This is part of the mystery of Poe. Poe's works embodies Gothic fiction: They are dark, foreshadowing, and essentially evil. They contain the elements of horror, suspense, and surprise. His works have the stereotypical horror-story settings of nighttime, dark-imposing architecture, and desolate locations. There is always mystery and elements of madness and the unknown. A terrifying occurrence will always happen and death is always involved. It would not be a Poe story otherwise. 黑猫 the spirit of PERVERSENESS. Of this spirit philosophy takes no account. Yet I am not more sure that my soul lives, than I am that perverseness is one of the primitive impulses of the human heart --one of the indivisible primary faculties, or sentiments, which give direction to the character of Man. Who has not, a hundred times, found himself committing a vile or a silly action, for no other reason than because he knows he should not? Have we not a perpetual inclination, in the teeth of our best judgment, to violate that which is Law, merely because we understand it to be such? This spirit of perverseness, I say, came to my final overthrow. It was this unfathomable longing of the soul to vex itself --to offer violence to its own nature --to do wrong for the wrong's sake only --that urged me to continue and finally to consummate the injury I had inflicted upon the unoffending brute Gothic fiction places heavy emphasis on atmosphere, using setting and diction to build suspense and a sense of unease in the reader. Common subject matter includes the supernatural, family curses, mystery, and madness. Gothic fiction may also feature a romantic plot or subplot, particularly in later incarnations in the Victorian era and the 20th century. While the Gothic novel is often considered the best example of the genre, some poetry and short stories can also be characterized as Gothic, such as the Graveyard Poets of late 18th century England and the short stories of Edgar Allen Poe, which have influenced Gothic writers ever since their publication. Gothic fiction is the forerunner of today's horror genre, although the Gothic style continues to boast many practitioners. Making its debut in the late 18th century, Gothic fiction was a branch of the larger Romantic movement that sought to stimulate strong emotions in the reader - fear and apprehension in this case. Gothic fiction takes its name from medieval architecture, as it often hearkens back to the medieval era in spirit and subject matter and often uses Gothic buildings as a setting. aestheticism