摘要
小说的古典主义模仿力图使外在现实呈现,现代主义的意识模仿描写追求内心现实的实现,后现代主义的模仿虚构破坏了艺术与客体之间的传统现实关系,以故意模仿与真实世界相对抗,借以完成对艺术和真实、虚构与现实之间的解释。模仿的逆转最终可以看作模仿的循环和回归。对模仿现实的极端破坏至少表达了模仿虚构的三方面困境:1.小说重复自己仍是在重复现实;2.虚构的虚构仍然包含着模仿;3.
traditional imitatiom tended to show the external world, modernist imitation of consciousness represented a characters inner world, postmodernism parody which deliberately imitates a particular literary work, however, subverted the traditional elations between artful manipulations and object matter. It was possible to explain the relations between art world and reality or fiction and truth by appling the parody to revolt against real world. We hold a view of parody, at last, as the circulation and return of imitation, an it showed us three aspects:(1)The literary works which imitates itself, in fact, was still to echo the reality. (2) Imitation were included in the fitction of fictiv utterances. And (3)Any kind of literary works had to show its attitute to the truth.
出处
《兰州大学学报(社会科学版)》
CSSCI
北大核心
1997年第3期152-156,共5页
Journal of Lanzhou University(Social Sciences)