重访“大象的墓地”:莎士比亚来源研究的历史、困境、转向与方法论意义  

Revisiting“Elephants’Graveyard”:The History,Dilemma,Turn,and Methodological Significance of Shakespeare Source Study

作　　者：杨康恩 李伟昉[2] Yang Kangen;Li Weifang

机构地区：[1]河南大学文学院,河南开封475001 [2]河南大学莎士比亚与跨文化研究中心,河南开封475001

出　　处：《河南大学学报（社会科学版）》2024年第5期43-51,153,共10页Journal of Henan University(Social Sciences）

基　　金：国家社会科学基金重大项目“莎士比亚戏剧本源系统整理与传承比较研究”(19ZDA294)阶段性成果。

摘　　要：莎士比亚来源研究自17世纪后期开始出现,至20世纪逐渐偏向语言学和史料学研究,产生了布洛的集大成之作《莎士比亚的叙事和戏剧来源》。随着新历史主义与文化研究浪潮的兴起,传统来源研究逐渐陷入沉寂,甚至被格林布拉特称作“大象的墓地”。近年来,莎士比亚来源研究实践出现转向:一是在概念范畴方面从来源转向互文性;二是在研究进路方面与文化研究、审美批评等相结合,呈现出更为基础性、工具性的方法论特征。其显著标志是:丰富阐释莎士比亚意图的有效途径,实证方法与审美批评兼而有之,实现比较思维从“求同”向“探异”的转化。Shakespeare Source Study emerge in the late 17th century and gradually shifted towards Linguistic and Historiography in the 20th century,resulting in Geoffrey Bullough’s masterpiece Narrative and Dramatic Sources of Shakespeare.With the rise of The New Historicism and Cultural Studies,Source Study has gradually fallen into silence and is referred to as the“Elephants’graveyard”by Greenblatt.In recent years,there has been a shift in Shakespeare Source Study:in terms of conceptual categories,there has been a shift from Source to Intertextuality;In terms of research approach,it is combined with critical paradigms such as Cultural Studies and Aesthetic Criticism,presenting more fundamental and instrumental methodological features.As a methodology,Source Study is an effective way to explain Shakespeare’s intention,realizes the combination of Positivist and Aesthetic,and completes the transformation of comparative thinking from“seeking common ground”to“seeking differences”.

关 键 词：莎士比亚 来源研究 格林布拉特 大象的墓地 方法论意义 

分 类 号：I106.3[文学—世界文学]