从《罪与罚》到《天注定》——拉斯柯尔尼科夫的碎片化

From Crime and Punishment to A Touch Of Sin:Raskolnikov's Fragmentation

小说《罪与罚》与电影《天注定》作为跨时空的两个艺术文本,分别以现实主义的完整性、深度与后现代主义之碎片化、平面化模式,展现暴力革命终结信息革命勃兴之时代的社会危难。批判方式迥然不同,但都关注弱者的命运,展现"东方专制主义"下资本原始积累对人的异化。暴力作为一定历史时期不可避免之手段,其正义性决定于其自身终结之目的。在历史的不同时段,暴力从手段变为"目的本身",形成一种唯暴力论支持下的暴力泛化。抗暴者胜出为王之后屡屡化为暴政。"恶"作为历史前进的"杠杆",在正义与非正义的互换中陷入"救之途"倒置为"恶之源"的循环。后冷战和平时期社会日常生活中"微暴力"之泛化以对历史理性的挑战撼动着人性善。对这样一条特定历史长路的超越则为人类从暴力中挣脱之最终解放。

Although the novel Crime and Punishment and the film A Touch of Sin are two different forms of artistic texts in time and space,both of them describe the social crisis at the beginning of information revolution in the wake of violent revolution respectively by way of realistic depth and completeness,and of the fragmentation and complanation of postmodernism.Both texts focus on the fate of the weak and follow the same logic of "Oriental Despotism" where the primitive accumulation of capital has alienated people.In different period of times,violence could be transformed from being as an inevitable means into a motivation as itself,thus generalizing violence in practice backed up by violence theory.Those who resist violence would always take violent measures when they win,which demonstrates that evil,as the lever for the progress of history,would always trap itself in circles of "means of salvation" being converted into "origin of evil" during the reciprocal period from justice to injustice.Bakhtin's polyphonic theory adopted in Dostoevsky's Poetics,based on "communication-dialogue",develops into a system and still functions in postmodernism.The new age could finally accomplish the universal values surpassing being Utopian and religious.