从透视法隐喻看奥尔巴赫《摹仿论》的文学史书写  

Perspective as a Metaphor:On the Writing of Literary History in Auerbach's Mimesis

作　　者：路程[1] LU Cheng

机构地区：[1]上海外国语大学犹太研究所,上海200083

出　　处：《华东师范大学学报（哲学社会科学版）》2020年第5期120-127,186,187,共10页Journal of East China Normal University（Humanities and Social Sciences）

基　　金：教育部人文社会科学研究青年基金项目“勒内·基拉尔的文学理论研究”(项目编号:19YJC751025)。

摘　　要：奥尔巴赫的《摹仿论——西方文学中现实的再现》中频繁出现“透视法”一词,该词既在隐喻层面上被使用,又构成了奥尔巴赫对文本与现实之关系的书写和构建。“透视法”隐喻具有构建文学场景空间、引入历史意识的功能,也是对作者的历史意识和世界观是否开阔的衡量标准。奥尔巴赫借助维柯的人文历史主义与赫尔德关于各民族文化平等的观念,克服透视法的认识论局限,形成“历史透视主义”的文学史书写原则。喻象观和多元镜像理论作为透视法隐喻的补足和变体,共同完成了奥尔巴赫对欧洲文学史的历史主义构建,呈现出文学再现现实的多重面貌。The word“perspective”is frequently used in Auerbach's Mimesis:The Representation of Reality in Western Literature.It is not only used in a metaphorical sense,but also constitutes Auerbach's writing and construction of the relationship between text and reality.The metaphor of perspective has the function of constructing literary space and introducing historical consciousness.It is also employed to scale whether an author has historical consciousness or a broadened worldview.Through Vico's humanistic historicism and Herder's idea of cultural equality of all ethnic groups,Auerbach overcomes the epistemological limitations of perspective and forms the principle of“historical perspective”in writing literary history.As supplements and variations of the metaphor of perspective,figural interpretation and multiple consciousness reflection are jointly used to construct a European literary history by Auerbach,presenting multiple aspects of representation of reality in literature.

关 键 词：透视法 历史透视主义 摹仿 喻象 多元意识镜像 

分 类 号：I109[文学—世界文学]