“杀死”巴黎圣母院与雨果的文学夺权  

“Kill” Notre-Dame de Paris and Hugo’s Literary Seizure of Power

作　　者：贵雪佼 GUI Xuejiao

机构地区：[1]中国人民大学外国语学院

出　　处：《国外文学》2022年第4期89-99,共11页Foreign Literatures

基　　金：中国人民大学2021年度“中央高校建设世界一流大学(学科)和特色发展引导专项资金”支持。

摘　　要：作为浪漫主义文学经典,《巴黎圣母院》向来因动人的故事情节或鲜明的艺术特色而为人所称颂,但其重要性和复杂性远胜于此。作品虽以中世纪天主教堂命名,却带有宗教反叛色彩。小说写于1830年这个标志雨果思想转折点的年份,记录了作家对自由主义思想的接纳方式,反映出他的核心诉求:将社会改革与艺术解放相互贯通,由文学来行使教权。此观点隐含于书中一句谶语“这个将杀死那个”,并在刑场送水场景中得到集中体现。本文认为,受罚与送水形成的情节突转,其背后埋下了一套意义与之相悖的话语体系,作家借助音韵互涉解构亚里士多德情节观并赋予送水情节以历史、政治内涵,在反思法国大革命的基础上提出了以启蒙为宗旨的革命观,社会革新与文学革命相互隐喻,彼此促成。Victor Hugo’s romantic novel Notre-Dame de Paris has always been celebrated for its impressing storyline or distinctive artistic features, but the complexity of the work has long been overlooked. Although the novel is named after a medieval Catholic church, it suggests a religious rebellion. Written in 1830, the year marking the turning point of Hugo’s thought, it reflects the writer’s understanding of liberalism as well as his central demand for linking social reform with artistic emancipation and for letting literature exercise clerical power. This view is implicit in “This will kill that”, and it is epitomized in the scene of delivering water. The present article argues that Hugo constructs a discourse with contradictory meanings in the text, makes use of phonological elements to deconstruct Aristotle’s conception of plot, gives historical and political connotations to the scene, and puts forward a point of view aimed at enlightenment by reflecting on the French Revolution. The social innovation and the literary revolution are metaphorically correlated and mutually promoted.

关 键 词：雨果 《巴黎圣母院》 革命 启蒙 

分 类 号：I565.074[文学—其他各国文学]