“介入文学”的悖论——萨特与维尔高尔和午夜出版社的“文学与介入”之争  

Paradox of“Committed Literature”:Dispute Between Sartre and Vergors and Midnight Publishing House Over“Literary Commitment”

作　　者：刘晖[1] LIU Hui

机构地区：[1]中国社会科学院外国文学研究所

出　　处：《国外文学》2024年第1期11-21,共11页Foreign Literatures

基　　金：国家社科基金重大项目“外国文学原理研究”(项目编号:22&ZD284)的相关成果。

摘　　要：第二次世界大战后到20世纪80年代,萨特凭借文学理论(《什么是文学?》)和创作实践成为“介入文学”旗手,将“抵抗文学”的介入立场激进化,提出“极限处境文学”,试图在冷战开启的两种意识形态斗争中走中间路线,调和文学形式与政治内容。巴特和罗伯-格里耶以文学形式、结构语言学和符号学为武器,通过新批评和新小说质疑“介入文学”的非形式,深化了“什么是文学”的追问。本文以伯努瓦·德尼的《文学与介入:从帕斯卡尔到萨特》为参照,描述萨特与维尔高尔和午夜出版社围绕“介入文学”的竞争与互动,揭示“介入文学”与文学现代性之间的张力,阐明“介入文学”是作家通过修辞技艺制作的产品。From World War II to the 198Os,Jean-Paul Sartre became the standard-bearer of“committed literature”for his literary theories as articulated in his What is Literature?and his creative writing.The new criticism and the new novel led by Roland Barthes and Alain Robbe-Grillet question the non-form of“committed literature”and deepen the question of“what is literature”.This article aims to describe the competition and interaction between Sartre and Vergors and Midnight Publishing House over“committed literature”,soas to reveal the tension between“committed literature”and literary modernity.It concludes that“committed literature”is an artefact of a writer equipped with his rhetorical technique.

关 键 词：“介入文学” 处境文学 新小说 符号学 修辞 

分 类 号：I0-05[文学—文学理论]