兰色姆“新批评”理论的本体意蕴与现代转换  

The Ontological Connotation and Modern Transfer of J.C. Ransom's New Criticism

作　　者：张燕楠[1] 宋伟[2] 

机构地区：[1]东北大学外语学院,辽宁沈阳110004 [2]辽宁大学文学院,辽宁沈阳110036

出　　处：《辽宁大学学报（哲学社会科学版）》2014年第3期139-144,共6页Journal of Liaoning University(Philosophy and Social Sciences Edition)

基　　金：教育部基本科研业务费资助(02030022112001);教育部人文社会科学研究规划基金资助(13YJA752030)

摘　　要：兰色姆的本体论是"新批评"理论的核心。目前学者们对其本体论有不同的理解。从其理论生成的历史语境出发可以发现,与传统本体论不同,兰色姆的本体论对世界本体的探寻不是指向普遍的、实体性的概念化的绝对存在,或抽象的形而上的真理,而是将艺术的存在规定为世界的本体。他的本体论关注的是以异质性、生成性、偶然性为特征的本体存在。兰色姆反对预设实体存在,认为由此在感知的世界才是真实的世界。兰色姆所提出的本体论是属现代本体论范畴,是对实体本体论和逻辑本体论的一种颠覆。Ransom＇s ontology is the core of the New Criticism＇s theories. However, contemporary scholars have different understandings towards his ontology. From the historical context of its evolution, it can be discerned that Ransom＇s ontology, different from the traditional one, approaches the noumenon of the world neither by locating its ultimate and absolute being, nor by figuring out an abstract or conceptual truth. Instead, it provides the being of arts as the world noumenon. His ontology is focused on the heterogeneity and regards it as the feature of being. Ransom is strongly opposed to the presupposed substantial noumenon and believes that the real world relies on the perception of Dasein. Therefore, Ransom＇s ontology is a modem ontology, which composes a challenge against the substantial and logical ontology.

关 键 词：兰色姆 “新批评” 本体论 现代本体论 

分 类 号：I026[文学—文学理论]