从同一到差异:现代性在苏俄文论中的多重镜像  

From Identity to Difference:Multiple Image of Modernity in the Soviet Russian Literary Theory

作　　者：李薇[1] 

机构地区：[1]广东轻工职业技术学院,广东广州510300

出　　处：《广州大学学报（社会科学版）》2013年第3期67-71,共5页Journal of Guangzhou University:Social Science Edition

基　　金：教育部人文社会科学研究西部和边疆地区项目(12XJC751003);广东省普通高校人文社会科学研究项目(11WYXM003)

摘　　要：基于对现代性二元对立镜像的批判立场,巴赫金与洛特曼的差异美学以异质要素差异共存为理论要旨,注入历史地基与人文关怀,打破同一,张扬差异。差异美学从人的主体中心困局切入,以生活世界为人的历史化存在根基,以"他者"为人的多元化存在前提,以对话关系重塑人的差异化存在本质。在反思现代性,重构话语秩序的浪潮中,差异美学不仅作为一种思维范式,启发了现代性与后现代互补性视域融合的思潮转向,而且作为一种理论形态,奠定了苏俄文论兼收并蓄、多元开放的理论格局。By criticizing the binary linage oi the mo^erntty, humanism into their differential aesthetics, which is based on such th retical ideas as heterogeneous elements and coexistence of differences. Differential aesthetics takes the human subjects as the starting point, regards the world as the historical basis, holds ＂the other＂ as the hypothesis of the human diversity, and reshapes the differential ex- istence of the human beings through dialogical relationships. In the wave of rethinking modernity and reconstructing the discourse order, differential aesthetics, as a thinking paradigm, arouses an academic trend which integrates the modernity with the post modernity. As a theoretical form, differential aesthetics establishes the diversity and open- ness of the theoretical pattern of the Soviet Russian literary.

关 键 词：同一 差异 现代性 苏俄文论 

分 类 号：I01[文学—文学理论]