摘要
作为应对19世纪末文学市场商业化和小说职业化的策略性反应,亨利·詹姆斯在以文学生活为主题的短篇小说《下一次》与《格雷维尔·费恩》中构建了一个"颠倒的经济世界",遵循"输者为赢"的游戏规则,即在市场上失败的作家可以赢得符号权力。与此同时,詹姆斯在书信、笔记、文学评论中也将自己塑造成一位被大众疏离的"失败者"的形象,强调文学艺术的"非功利性"。亨利·詹姆斯掌握了一种"失败"的美学运作机制,通过高雅与低俗的对立,参与了争夺艺术作品合法话语权的斗争,意在强化严肃作家的权威地位和审美权力。
As a strategic response to the commercialization of the literary market at the end of the 19th century,in his short stories on literary life,“Next Time”and“Greville Fane”,Henry James constructed“an economic world inverted”and followed the rule of the“loser wins”:Writers who fail in the market could win the symbolic power.At the same time,in his letters,notebooks,and critical essays,James portrayed himself as a“loser”alienated by the public,emphasizing the principle of“disinterestedness”.Henry James mastered a mechanism of the aesthetics of“failure”.Through the opposition between the high and the low,he participated in the struggle for the legitimation of the value of works of art,intending to strengthen the authority and aesthetic power of serious writers.
出处
《英美文学研究论丛》
2021年第1期184-197,共14页
English and American Literary Studies
基金
教育部人文社会科学研究项目(18XJC752002)的阶段性成果。
