小说何以成为表演艺术?——彼得·基维对文学本体论的新探索
What Makes the Fiction Becomes Performance?——A Study of Peter Kivy's Literary Ontology
王慧婷 1殷曼楟1
作者信息
- 1. 南京大学艺术学院,江苏南京 210009
- 折叠
摘要
基维试图整合古德曼"代笔的"艺术,将以小说为主的虚构文学也纳入戏剧、音乐等表演艺术.在基维看来,小说的示例并非固定不变的文字标记,而是读者的每一次阅读体验.阅读可以作为听觉表演而存在,作为表演的阅读就是读者在脑内扮演讲故事的人给自己讲故事.默读表演以"解释"为驱动力,"解释"能力在一次次阅读实践中获得提升."批评"是更深入的"解释",它既存在于两次阅读体验的间隙里,也存在于阅读结束后的反思中.基维将"解释"与"批评"的权利赋予普通读者,体现了他对文学行动价值的体认.基维的这一表演式文学本体论契合十 九世纪六七十年代以 来文艺 理论的 表演性转向,他对表演式文学传统的谱系学追溯也适用于中国的文学历 史语境.
Abstract
Kivy tried to integrate the"autographic"which is Goodman's ontological classification of art,bringing lit-erary works,especially novels,into performing arts,together with music and drama.Kivy believes that the tokens of literary work are not the text,but the readers'every reading experience.Not only that,reading can exist as a sound performance.To some extant,it is like that reader impersonates the role of the storyteller to tell stories to himself in his mind.In addition,the silent reading performance is interpretation-driven performance,and the interpretation a-bility has been improved in every reading practice.Criticism is a more in-depth interpretation,which exists not only in the gap between two reading experiences,but also in the reflection after reading.Kivy's affirmation of the value of literary action is reflected in his granting of the right of interpretation and criticism to ordinary readers.This performa-tive literary ontology of Kivy fits into the performative turn in literary theory since the 1860s and 1870s,and his gene-alogical tracing of the performative literary tradition is also applicable to the historical context of literature in China.
关键词
文学本体论/彼得·基维/分析美学/表演Key words
Literary Ontology/Peter Kivy/Analytic Aesthetics/Performance引用本文复制引用
出版年
2024
NETL
NSTL
万方数据