奥尔巴赫的“喻象”(figura)与汉语语境的解读  

On Erich Auerbach's Figura:An Analysis from Chinese Context

作　　者：高云霄 Gao Yunxiao

机构地区：[1]中国人民大学文学院

出　　处：《中国比较文学》2024年第1期40-53,共14页Comparative Literature in China

基　　金：教育部人文社会科学重点研究基地中国人民大学欧洲问题研究中心重大项目“中国传统与欧陆思想的对话工具及其双向阐释”(编号:22JJD720020)的阶段性成果。

摘　　要：“喻象”(figura)是奥尔巴赫文艺思想的核心概念。在奥尔巴赫看来,喻象超脱出中世纪的“寓意”(allegoria)传统,是彼时理解世界与历史的基本方法;与此同时,喻象也关乎意义的言说,是对“真象”(veritas)的“摹仿”。延展于两者之间,喻象成为世界历史与终极意义之间的“中介”。喻象的中介属性将意义置换为事件之间的关系和历史的悬置,同时也将摹仿从传统形而上学的同一性叙述中解放出来,成为对一种“之间”结构的摹仿。这与本雅明论中国书法在“图像—思想”之间的摹仿、朱利安阐释中国美学所用的“势”(propension)与“构形”(configuration)的“非摹仿”性概念遥相呼应。三人从东西方思想根源处对摹仿问题进行的思考,形塑着中西互释的思想空间。Figura is a central concept in Auerbach's literary criticism.In Auerbach's writing,figura goes beyond medieval allegoria tradition,and is a fundamental way of understanding the world and history at that time.Meanwhile,figura is also related to the utterance of meaning as a kind of mimesis of the veritas.Extended between the two respects,figura becomes a“mediator”between earthly reality and ultimate meaning.The“in-between-ness”of the figura displaces veritas as relations between events and suspension of history,and liberates mimesis from the metaphysical narration of identity.This is similar to Walter Benjamin's discussion of Chinese calligraphy's mimesis between“image-thought”and Francois Julian's interpretation of Chinese non-mimetic aesthetics in terms of“shi”and“configuration.”The three critics'reflections on the mimesis from the roots of Eastern and Western thought precisely form an intellectual space for mutual interpretation between them.

关 键 词：奥尔巴赫 喻象 历史 真象 摹仿 构形 

分 类 号：I0[文学—文学理论]