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作 者:吴振宇 Wu Zhenyu(Peking University)
机构地区:[1]北京大学外国语学院
出 处:《欧亚人文研究(中俄文)》2024年第2期59-66,87,88,91,共11页Eurasian Humanities Studies
基 金:国家社科基金重大项目“俄罗斯诗学学派研究”(项目号:22&ZD286)的阶段性研究成果。
摘 要:巴赫金的狂欢化诗学被广泛应用于众多学科,作为其对话哲学的重要组成,某种程度上影响了人文科学的治学格局。本文聚焦巴赫金有关“边缘文化”的思想资源,特别是“巴黎的吆喝”与“白边绘画”,将其文艺表现形式视为一条独特的线索,借此在巴赫金与当代艺术史家迈克尔·卡米尔之间搭建起对话的桥梁。巴赫金考察拉伯雷的创作采用一套与传统的追求“中心化”迥异的文化运转机制,以“离心力”思维揭示文学创作所遵循的另一种逻辑——“边缘文化”的创造力。卡米尔接受这种文化逻辑,在中世纪艺术研究中指出,文艺的边缘性暂时会因弱小而敌不过现实主义的清醒,但有朝一日边缘亦会走向中心。狂欢化诗学在英美学界俨然成了释读中世纪绘画、抄本艺术、市场言语艺术以及能够帮助还原中世纪文化面貌的一把锐利解剖刀,以其为代表的俄罗斯诗学的国际影响由此亦可见一斑。Bakhtin’s carnival poetics has been widely used in many disciplines and,as an important composition of his conversational philosophy,it has to some extent influenced the development of the humanities.This paper focuses on Bakhtin’s intellectual resources in the field of“marginal culture”,especially the“Parisian cries”and“paintings in the white edges”,and examines their artistic and literary manifestations as a unique thread that leads to a discussion between Bakhtin and contemporary art historian Michael Camille.Bakhtin viewed Rabelais’s work as employing a set of cultural mechanisms quite different from the traditional pursuit of“centrality”and discovered through“centrifugal force”thinking an alternative logic of literary creation,the“logic of the periphery”.In adopting this logic,Camille noted in his study of medieval art that the marginality of literature and art would temporarily prove too weak to resist the sobriety of realism,but that one day the margins would also move toward the center.The author argues that Bakhtinian poetics has been applied as a sharp scalpel to interpret medieval paintings,manuscript drawings,market speech,and ultimately to help reconstruct the medieval period in all its many manifestations,which stands as the proof for the international influence of Russian poetics represented by it.
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