罗兰· 巴尔特论俳句——从片段式书写通向伦理诗学视域下的中性写作

Roland Barthes on Haiku:From Fragmentary Writing to Neutral Writing from the Perspective of Ethical Poetics

法国理论家罗兰·巴尔特始终致力于对片段式书写的实践与研究。他在日本文化当中发现了一种逼近语言零度的书写形式即俳句并将其确立为写作幻想式。俳句因其以瞬间呈现一种确信而被巴尔特视为接近于摄影意识对象的“这个曾经是”。为了超越零度造成的纯文学的死亡困境,巴尔特融合西方术语中的“圣显”与东方禅道哲学的“顿悟”重新阐释瞬间诗学的可能性。他受列维纳斯伦理学的启发将俳句对真实瞬间的触动命名为“真实时刻”,并借助绘画理论与戏剧理论在一种建基于与他者的社会关系从而超越现在的时间观中设想写作。巴尔特通过“真实时刻”的叠加构想片段式书写的连续性,他对俳句的思考由此过渡到了对文学之未来即中性写作的想象与建构,其理论亦呈现出了一种伦理诗学转向。

French theorist Roland Barthes has always been committed to the practice and research of fragmentary writing.In Japanese culture,he discovered a kind of fragmentary writing that is close to the linguistic zero:the haiku,and viewed it as the fantasme of writing.The haiku was regarded by Barthes as the consciousness of photography:“it has been”(ca-a-été).In order to surpass the death dilemma of pure literature caused by the zero degree,Barthes reinterprets the possibility of instantaneous poetics by integrating the“epiphany”in Western terms and the“satori”of oriental Zen philosophy.Inspired by Lévinas’s ethics,he named the trigger of the real instant induced by the haiku as“the real Moment”(le Moment de vérité)and used theories of painting and drama to conceive writing as asocial relationship with the Other that could transcend the present.Through the superimposition of“the real Moment”,Barthes conceived the continuity of fragmentary writing,and his thoughts on haiku,as a result,transitioned to the imagination and construction of the future of literature,namely neutral writing,which reflected his theoretical turn to ethical poetics.