“作者中心论”与“读者中心论”的中西碰撞——重访米勒与童庆炳的“文学终结论”之争

The East-West Collision of “Author-Centeredness” and “Reader-Centeredness”: Reconsidering the Controversy on “the End of Literature” between Hillis Miller and TONG Qingbing

美国文学批评家J.希利斯·米勒于2000年提出的"文学终结论"在中国引发了长达数年的讨论,影响了新世纪的中国文学理论转型。重新梳理这段历史,会发现米勒、童庆炳与"文学终结论者"之间构成了三方对话的复杂状况,也更可凸显出米勒与童庆炳之间对话错位的内在原因。一方面,米勒的"文学终结论"体现了"读者中心论"的文学观念,强调读者亲自阅读文学中的"他者",接受语言的施为作用,实现解构主义的现实旨趣;另一方面,童庆炳以"作者中心论"作为反对"文学终结论"的理论支点,建立了以作者为主体的审美诗学,旨在引导作者的创作实践。而重新梳理、反思二人的"文学终结论"之争,不仅有助于厘清米勒与童庆炳文学思想上的殊异,也为我们观察中西文论所存在的某些深层视域之差提供便利。

"the End of Literature"proposed by the American literary critic J.Hillis Miller in 2000 aroused discussions in China for several years and influenced the transformation of Chinese literary theory since the new century.Based on the reorganization of historical context in this period,it will be found that Miller,Tong Qingbing and"Supporters of‘the End of Literature’"constituted a complicated tripartite dialogue,which also brought out the internal reasons for the dislocation of the dialogue between Miller and Tong Qingbing.On the one hand,Miller’s opinions embodied the literary thoughts of"Reader-Centered",which emphasizes that readers need to read"Others"in literary works by themselves and accept the performative power of language in order to realize the practical significance of the deconstructionism;On the other hand,Tong Qingbing applied the thoughts of"Writer-Centered"as the theoretical fulcrum against Miller,and he established an aesthetic poetics with the author as subject,aiming to direct the author’s creative practice.As a result,rethinking the discussion between them with a new theoretical dimension not only distinguishes the differences between Miller’s and Tong Qingbing’s views,but also presents the essential differences between Chinese and Western literary theories.