摘要
20世纪以来文学批评关注的焦点从作者转向文本和读者,理论界提出“作者之死”,推翻了传统批评的创作主体中心论,但是主体的缺失却使文学研究和评论囿于文本内部的结构并造成意义的无尽阐释,导致了文学艺术的合法化危机。在新的世纪反思叙事文学创作主体的作用,我们不难发现作者其实并不可能真正死去,解构的目的应该在于重新建构。从文学研究的本体论和目的论出发,我们应当重新认识创作主体的地位,并藉此在被解构了的文本废墟上重构文本的意义,建构一个经过语言表征危机洗礼之后的相对确定的意义。
The twentieth century saw the focus of literary criticism shifting from the author to the text and the reader. Therefore, some critics advance death of the author? which subverts the authority of author in traditional literary theory. However, following 揹eath of the author? the meaning of a text has recourse to the readers, each of whom can have his own rewriting of the text. In this situation, literature loses its 搇egitimacy?and becomes 搉onsense? How to make sense from 搉onsense?is the new challenge in the realm of literary criticism. This paper originates with the view that the function of the author has to be reconsidered with a new mode of thinking in order to reconstruct the status of literature after deconstruction.
出处
《外国语》
CSSCI
北大核心
2002年第4期59-65,共7页
Journal of Foreign Languages
基金
2001年江苏省教育厅高校人文社科研究指导性计划项目(01SJD750.11-440013)
