摘要
国内外学界在哈罗德·布鲁姆的批评身份或美学身份归属上存在着分歧。从布鲁姆与解构主义、现代主义的关系角度进行考察,可以发现,他主要是一位坚持审美自主性、崇高性、主体性、反对非审美化批评、倡扬精英/经典文学的现代主义批评家,而非解构主义批评家。布鲁姆文学批评的现代性在批评话语和范畴、批评思路与思想、批评理念与美学原则、批评形态与功能、批评范式、生活方式和职业身份等层面具现出来。其现代性的核心在于分化性、区隔性、张力性和求异性,即在文学批评中对于精英/大众、高雅/通俗、中心/边缘、永恒/短暂、后辈/前驱、审美/非审美之间二元分化、张力、对立、秩序等关系的强调,对于审美去功利性和崇高美学形态的坚守,以艺术和审美对抗异化、战胜时间、超越短暂、达至永恒,从而实现重构主体、重塑心灵、恢复自由、救赎自我的现代美学目标与功能。
The consensus on Harold Bloom’s critical or aesthetic identity remains divided.Examining his relationship with deconstructionism and modernism reveals him primarily as a modernist critic—one who upholds aesthetic autonomy,sublimity,and subjectivity,opposes non-aesthetic criticism,and advocates elite/canonical literature—rather than a deconstructionist critic.The modernity of Bloom’s literary criticism manifests in its critical discourse and categories,critical approaches and ideas,aesthetic principles,forms and functions,paradigms,as well as his lifestyle and professional identity.At its core,his modernity is defined by differentiation,distinction,tension,and a pursuit of the difference:it emphasizes binary divisions,tensions,oppositions,and hierarchies—such as elite/popular,high/lowbrow,center/margin,eternal/ephemeral,successor/precursor,and aesthetic/non-aesthetic—while upholding aesthetic disinterestedness and sublime aesthetic forms.Through art and aesthetics,Bloom seeks to resist alienation,conquer time,transcend the transience,and attain eternity,thereby realizing modern aesthetic goals and functions:reconstructing the subjectivity,reshaping the soul,restoring freedom,and achieving self-redemption.
作者
曾洪伟
Zeng Hongwei(the School of Foreign Studies,Chongqing Jiaotong University,Chongqing 400074,China)
出处
《外国语文研究》
2025年第5期23-33,共11页
Foreign Language and Literature Research
基金
国家社会科学基金项目“20世纪英美文论著作英汉版本整理与研究”(项目编号:15BWW007)
重庆市教委人文社会科学重点项目“哈罗德·布鲁姆文学批评论争文献整理与研究”(项目编号:22SKGH160)的成果。
