模仿说视域中的戏仿动机  

Parody Motive in the View of Imitation Theory

作　　者：龚芳敏[1] GONG Fangmin(College of Literature and Journalism,Jishou University,Jishou Hunan 416000,China)

机构地区：[1]吉首大学文学与新闻传播学院,湖南吉首416000

出　　处：《长沙大学学报》2022年第1期36-40,共5页Journal of Changsha University

基　　金：国家社科基金项目“北美媒介环境学派的媒介哲学研究”,编号:19BZX036;湖南省社科基金项目“西方戏仿理论的历史嬗变研究”,编号:11YBB311。

摘　　要：模仿说是西方文艺理论中最古老,同时也是最具影响力的理论学说。在模仿说视域中,戏仿的动机表现为源于习得创作技能的需要、隐含着向经典致敬的意图以及引发滑稽接受效果的追求。模仿说视域中对戏仿动机的阐释也存在一定的局限,主要体现为对主体的压抑以及对主体理解的断裂。模仿说在戏仿的动机阶段对主体是认可的,但在戏仿的实施阶段对主体则进行了悬置和去除。这充分体现了模仿说面对主体的摇摆性和漂移性。Imitation theory is the oldest and most influential theory in western literary theories.In the perspective of imitation theory,the motive of parody is the need to acquire creative skills,which implies the intention of paying tribute to the classics and the pursuit for the effect of comic reception.There are also some limitations in the interpretation of parody motive in the view of imitation theory,mainly reflected in the repression of the subject and the rupture of the understanding of the subject.Imitation theory approves the subject in the motivation stage of parody,but suspends and removes the swaying in the implementation stage of parody.This fully demonstrates the rocking and drifting nature of imitation theory in the face of the subject.

关 键 词：模仿说 理论主张 戏仿动机 主体性 局限 

分 类 号：I024[文学—文学理论]