德里达后文学性接受的批判与发掘

Criticism and Exploration of Misunderstanding in the Criticism of Derrida’s Post-Literariness

德里达的文学观在文学本质、后文学性问题的论争中成为学界争相引证的焦点。无论它被塑造成为反本质主义,还是被流俗化为相对主义、折中主义,无论是贬抑还是回护的观点,都几乎同解构文学性之旨趣相去甚远。究其原因,是基于自然主义的偏狭认识论使然。只有回到现象学本质,回到后形而上学维度,方能趋近它的内核。德里达通过对“模仿”等形而上学诗学范畴的重构及“处女膜”等概念的创设,实现了后文学性的界说,并开创了解构与重构、理论界说与写作实践“雌雄同体”的言说方式。

Jacques Derrida’s literary view has become the focus of the controversy on the nature of literary and post-literariness.Whether it is shaped as anti-essentialism or popularized as relativism and eclecticism,whether it is debased or maintained,both are far from the purport of deconstructing literariness,which results from the parochial epistemology based on naturalism.Only when we go back to the phenomenological nature and the post-metaphysical dimension can we approach the core of Derrida’s literary view.By reconstructing the categories of metaphysical poetics,such as“imitation”,and creating the categories,such as“hymen”,Derrida succeeded in defining post-literariness and creates the“androgynous”way of speaking in deconstruction and reconstruction,theoretical definition and writing practice.