摘要
《一个青年艺术家的画像》第五章中斯蒂芬所阐述的美学思想很大程度上是乔伊斯早年相关思考的翻版,无数学者将小说这一段作为研究他小说艺术的重要线索,将之等同于乔伊斯本人的美学理论和创作宣言。这种做法不仅混淆了作者与主人公、原材料与小说的界线,也未能准确道出这部小说的独有特征——反讽。小说中美学理论的逻辑矛盾、斯蒂芬在自己的理论与实践之间的巨大裂缝、过于宽泛失之精准的美学要素,无一不显示了斯蒂芬的美学实际上是乔伊斯反讽艺术的组成部分,而反讽的前提则是乔伊斯对自己过去的审视与超脱。
In the fifth chapter of A Portrait of the Artist as a Young Man,Stephen talks about his aesthetics,and it is Joyce's aesthetic thought to a certain extent. Many scholars view this part of the novel as an important clue to Joycean studies. They equal it with Joyce's own aesthetic theory and a manifesto of his writing. This view not only confuses the boundaries between author and protagonist,raw material and fiction,but blurs a unique characteristic of this novel: irony. The logical paradox of the aesthetic theory in the novel,the gap between Stephen's own theory and practice,the broad meaning of the aesthetic element,all indicate that Stephen's so-called aesthetics is actually part of Joyce's ironic art. To achieve the irony,Joyce has to stand aloof from his past and examine it.
出处
《国外文学》
CSSCI
北大核心
2015年第4期41-47,154,共7页
Foreign Literatures
