摘要
作为"理论之后"的一种批评实践,"新形式主义"最早出现在2000年《现代语言季刊》专号的系列文章中。2007年,这一期文章以文集出版,其中,"什么是新形式主义"成为核心关注,并引发诸多讨论。2013年,麦克米兰出版了由锡尔(Verena Theile)和特里德尼克(Linda Tredennick)合编的文集《新形式主义与文学理论》,集结了21位作者关于"新形式主义"的主要观点,从理论、阐释和文学教学三个方面阐述文学研究中的形式与历史的关系。本文将对《新形式主义与文学理论》论文集的核心观点加以评述,阐明"新形式主义"的基本立场:"新形式主义"关注形式问题,从传统形式主义理论中汲取阐释方法,但同时提倡语境批评,将作者、作品和读者关系置于不同历史语境之间的对话中,从而揭示形式蕴含的社会历史意蕴。
Of those many'turns'and'returns'in the post-theory period,'New Formalism'attracts the least attention for its ambivalence about its theoretical paternity.With its obvious lineage from New Criticism,Russian formalism,and Chicago School,New Formalism was debunked in the late 1990 sas backlash formalism but reclaimed in the recent years as a negotiation between the prevalent New Historicism and calls for a return to the aesthetics.To understand the movement and reveal its subsequence consequences,this review essay looks into the main critical consensus delineated in the collection New Formalisms and Literary Theory(2013).Echoing the question 'What Is New Formalism?'recurring in the collection,this essay re-examines the different answers in the scholarship with particular attention to the importance of contextual readings of literary forms,revealing the lucrative and hybrid nature of New Formalism(s).
出处
《外国文学》
CSSCI
北大核心
2015年第5期149-156,160,共8页
Foreign Literature
