如何以“笑”行“怪诞”?--一种福柯式的重影诗学  

How to Do the Grotesque with Laughter?--A Foucauldian Self-Doubling Poetics

作　　者：聂成军[1] Nie Chengjun(School of Chinese Languages and Literatures,Lanzhou University)

机构地区：[1]兰州大学文学院,730020

出　　处：《文艺理论研究》2023年第2期192-202,共11页Theoretical Studies in Literature and Art

基　　金：国家社科基金一般项目“西方怪诞美学思想研究”[项目编号:18BZW029];第12批中国博士后科学基金特别资助项目“西方怪诞美学关键词研究”[项目编号:2019T120577]的阶段性成果。

摘　　要：美学界对“笑”与“怪诞”关联的研究有凯泽尔模式、巴赫金模式和两者调和模式。细读福柯在《词与物》前言中表述的笑,可以提炼出第四种模式,即以“笑”来施行怪诞审美话语实践的模式。在此模式下,福柯没有直接论及怪诞与笑的可能关联,只是前后反复发出了四次笑,且在其语言迷宫中将第一次笑“裂变”为十九次,后文三次笑又不断对其予以“重叠”修正,从而在“物之序”的表层重影成了“笑之序”,在历时性与共时性层面展现出怪诞审美实践的一种福柯式的重影诗学。就美学研究来说,其意义有三:一、笑并非只是怪诞在其审美机制中的必要构件,而是怪诞的一种形态和书写方式;二、对西方怪诞美学的考察不必拘泥于“grotesque”一词的言论史,而可以扩展至怪诞审美话语的具体表征形态;三、怪诞之所以需要重影诗学的重构乃在于它在“词不及物”中不断趋向于那个不可表征者,而重影诗学之所以是怪诞的乃因为话语的历史先天性使得“物”本身丧失了其可见性。Three approaches to the relation between “laughter” and the “grotesque” may be recognized in aesthetic research, namely, Kayser's, Bakhtin's and the hybridity of both. A forth approach may be described from Foucault's elaboration on laughter in his preface to The Order of Things, which may be termed as an approach of conducting aesthetic discursive practices of the grotesque by way of laughter. Foucault did not directly deal with the relation between the grotesque and laughter, but instead let out four laughs in his text. He particularly translated in his language labyrinth the first laughter into 19 doubles, which, through redoubling in the subsequent three laughs, presented themselves as revisions with “overlappings”. As a result, “the order of things, ” was surfaced with an “order of laughter, ” with a created double. Therefore, a Foucauldian self-doubling poetics is configured, exhibiting the grotesque aesthetic practices at both diachronic and synchronic levels. The significance of such aesthetics is threefold. First, laughter is not only a necessary component of the grotesque in its aesthetic mechanism, but also a form and way of writing the grotesque. Secondly, the investigation of Western grotesque aesthetics does not have to be confined to the etymology of “grotesque, ” but can be extended to the specific discursive representations of the grotesque aesthetics. Thirdly, the grotesque needs a reconstruction of the poetics of doubles in that it continuously lends itself to the unrepresentable in the “word's intransitivity.” The self-doubling poetics is grotesque because the historical apriority of discourse makes “things” invisible.

关 键 词：怪诞 福柯的笑 《词与物》前言 重影诗学 

分 类 号：I0[文学—文学理论]