摘要
本文从后现代主义的视角出发,围绕《唐璜》第十五章探讨鬼的意象对全诗所产生的重大意义。鬼作为一种非实质性存在,象征着形式与内容的冲突、表象与本源的疏离,而《唐璜》整体上的叙事魅力正是建立在各个层面的不协调以致冲突之上。从这个角度考察,作为浪漫主义经典文本的《唐璜》因而具备了强烈的后现代主义的"差异"诗学色彩,可以与巴特关于文本的"愉悦"和"极乐"之论相映照。另一方面,鬼这一意象还促成了friction-fiction这一对类比关系的成立,从而把作为《唐璜》主要内容的情爱和作为其主要创作技巧的反讽联系在一起,成为诗歌灵感的隐喻,也是拜伦超越现实与自我的凭借。鬼这一意象作为矛盾与游离之魂统领全书,承载着《唐璜》的主导精神,是流放诗学中一个意味深长的符号。
This paper attempts to highlight the great significance of ghost in Don Juan from a postmodern perspective.Ghost,being in its nature disembodied spirit,signifies a separation of form and matter,and estrangement from origin.The narrative energy,charm and pleasure of Don Juan as a whole are generated essentially through Byron's manipulation of disparity and friction at all levels.The poetics of disparity makes this Romantic text take on a curious affinity with postmodern poetics of 'difference' that can be compared with Barthes' account of the pleasure and bliss of the text.Being at once visible and invisible,ghost also serves as a metaphor for ironic and erotic pleasure.While Eros is the major content of Don Juan,irony is the major technique.Thus ghost is metaphorically the poetic inspiration in Don Juan:the spirit of transgression that allows Byron to transcend reality.Ghost is the presiding spirit of Don Juan,a conspicuous sign in the poetics of exile.
出处
《外国文学》
CSSCI
北大核心
2009年第6期77-82,共6页
Foreign Literature
