“艺术最崇高,同时也最令人厌恶”——论托马斯·伯恩哈德《历代大师》中的悖谬艺术观  

“Art Is the Most Sublime and the Most Revolting Thing Simultaneously”:On the Paradoxical View of Art in Thomas Bernhard’s Old Masters

作　　者：刘永强[1] 臧晓萌 Liu Yongqiang;Zang Xiaomeng(School of International Studies,Zhejiang University,Hangzhou,China,310058;Institute of German as a Foreign Language Philology,Heidelberg University,Heidelberg,Germany,69117)

机构地区：[1]浙江大学外国语学院 [2]海德堡大学对外德语学院

出　　处：《当代外国文学》2022年第4期50-58,共9页Contemporary Foreign Literature

基　　金：中央高校基本科研业务费专项资金资助。

摘　　要：在托马斯·伯恩哈德的小说《历代大师》中,矛盾的艺术观获得了统一:一方面,艺术是抚慰精神、超脱世俗的避风港,使主人公雷格尔能够远离平庸的日常,栖息于纯粹的沉思;另一方面,艺术催生绝望,加重精神世界的负荷,压抑生机勃勃的此在。这两种观念看似彼此对立,实则相互依存,其内在逻辑可以通过形式与生命之间的关系得以解释。当雷格尔不再严肃地对待崇高的艺术,并以幽默与嘲讽的方式看待世界,他最终为自己开辟出一个自由的空间。雷格尔艺术观中的悖谬结构超越了文本的边界,反映出小说作者关于艺术创作的基本理念。In Thomas Bernhard’s novel Old Masters, opposing views of art are unif ied: on the one hand, art is a haven to soothe the spirit and transcend the philistinism,enabling the protagonist Reger to distance himself from the banal everyday life and to inhabit pure contemplation;on the other hand, art functions for him like a catalyst of despair, which increases the burden of the spiritual world and hinders the creative life. These two views seem to be contradictory to each other, but in fact they are interdependent.Their internal logic can be explained by the relationship between form and life. When Reger stops taking the sublime art seriously and sees the world humorously and ironically, he f inally creates a space of freedom for himself. The paradoxical structure of Reger’s view of art transcends the boundaries of the text and ref lects the author’s basic idea of artistic creation.

关 键 词：托马斯·伯恩哈德 《历代大师》 艺术观 悖谬 

分 类 号：I521.074[文学—其他各国文学]