【作者】 宋红岭；

【导师】 葛红兵；

【作者基本信息】 上海大学 ， 中国现当代文学， 2008， 博士

【摘要】 身体审美意识的上升,是当代文化最引人注目的景观之一。这一景观的理论背景来自西方古典哲学的“理性精神”向“感性经验”的转变。尼采、德勒兹、梅洛-庞蒂等哲学家以身体为准绳,将身体推进到一种认知主体论的地位。其后,由于受到20世纪中后期的后现代思潮和语言学转向的影响,身体被看作具有隐喻功能的能指,随着身体所指的变动而漂移。身体的这种所指转移和能指滑动的逻辑,使得我们有可能以身体书写为视角,对近三十年文学做出考察。在文革叙事中,“身体”作为一种政治的隐喻,面临两种矛盾的处境。一方面人们几乎看不到令人信服的基于个体经验的身体存在,例如文革叙事对女性身体的压制和“性”话语的遮蔽,另一方面作为“大他者”的民族身体的欲望性又无限膨胀,标语、口号、政治抒情诗、革命样板戏体现出了集千万人意志的民族自立、消除剥削压迫的人民公意。把身体的这两种处境缝合在一起的逻辑,从民众心理层面看是出于平等、公义等现代理念的追求;从身体修辞层面来看,是依靠隐喻和象征、领袖身体的借用、英雄叙事等叙事手法;从身体的欲望根性来说,则在于欲望是一种希望得到他者承认的欲望。平等的、民族独立的、反抗压迫的身体话语,既代表了中国革命的欲望想象,又折射出它只是西方现代话语的附属形式。文革叙事的遗产是丰富的。一方面,对于现代性的诉求,在新启蒙叙事中得到延续,只不过欲望主体被知识精英取代。文革叙事的受难模式,在新启蒙叙事话语中被一再使用,具有代表意义的先锋人物的自虐般的精神享受、身体退场模式依旧;另一方面,文革所压抑的东西,如对物欲、金钱欲、享乐欲、快感的追求等,在新生代和消费叙事中得到了相反的回应。新启蒙叙事中知识分子身体的出场,带来了这个新的审美趣味。在“人道主义”的正义立场之上,新启蒙叙事高扬人的形而上理性精神,成功将形而下的身体边缘化。造成这种结果的原因在于,新启蒙思想始终无法摆脱大他者象征秩序的语言控制。而这在紧随其后的新生代叙事中受到有效的抵制。新生代作家们主动割裂了意识形态大他者的话语控制,这体现在类似“断裂"事件和挑战“父权”的性话语,以及女作家们的身体写作之中。通过对身体的本质直观,对隐喻的拒绝,对长期遭受男性中心主义压制的女性身体的展示,新生代叙事完成了文学史上的身体书写。新生代叙事的最直接的后果是把身体本体上升到了抵御生命虚无的层面,但是由于语言的象征本性,新生代在诗性地完成存在世界的展开之时不可避免地走上彻底的虚无之路。消费时代的来临,使得20世纪末以来的身体处境发生了根本的转变。一种基于大众消费平台的艺术生产、传播、接受模式随着经济全球化得以铺展开。70后作家把身体及其欲望功能成功地转化成了可消费的欲望之物,在消费之物产生的快感以及快感交换中,身体成为一种满足大众意识形态又操纵大众意识形态的当代景观。身体以转喻了的存在之物的形式被客观化、景观化、消费化,身体的新的在世方式,标志着一个幻像胜过现实的景观社会的到来。更多还原

【Abstract】 The rise of the aesthetic ideology of body is one of the most conspicuous spectacles in contemporary culture. The theoretical backgrounds of this spectacle come from the transition from the "rational spirit" to the "perceptional experience" of western classical philosophy. The philosophers such as Nietzsche, Deleuze, Merleau-Ponty take body as the criterion and push on body to the position of cognitive subject. Then, influenced by postmodernism and changes of linguistics in the middle and later periods of the 20^th century, body is taken as the signifier with metaphor functions, drifting as the changes of the signified of body. The logic of the signifier’s transfer and the signified’s slide of body makes us study recent thirty years’ literature with the perspective of the signifier of body.In the Cultural Revolution narrative, "body" is facing two sharply contradictory situations as a metaphor of politics. On the one hand, people can hardly see the convincing body existence based on individual experience, for example, the suppression of the female body and the shadowing of the "sexual" discourse. On the other hand, the desire of the national body as the "Other" is expanding unlimitedly. Posters, slogans, political lyrics and revolutionary model operas reflect hundreds and thousands people’s will of national self-reliance and the consensus of the elimination of explotiation and oppression. The logic of suturing the two situations of body is for the pursuit of modern ideas of equality and justice from the perspective of people’s psychology, for the narrative practices such as metaphor and symbol, the use of leaders’ body and heroic narrative from the perspective of body rhetoric and for the desire which wishes to be recognized by the "other" from the desire root of body. The body discourse of equality, national liberation and revolt against oppression not only represent the desire and imagination of China’s revolution, but also refract that it is just the subsidiary form of western modern discourse. Its own desire is in fact the hostile "other’s" desire.The heritage of the Cultural Revolution narrative is rich. On the one hand, the demands of the modernity continue in the new Enlightenment narrative, but the desire subject is replaced by the knowledge elite. The suffering mode of the Cultural Revolution narrative is used again and again in the narrative discourse of the Enlightenment. The mode of representative pioneer figures’ self-flagellating spirit enjoyment and the withdrawal of body remains. On the other hand, the things depressed by the Cultural Revolution such as the desire of goods, the desire of money, the desire of pleasure-seeking and the pursuit of pleasant sensation receive opposite response in the new generation and consumption narrative.The appearance of intellectuals’ body in the new Enlightenment narrative has brought this new appreciating interest. On the justice stand of "humanitarianism", the new Enlightenment narrative lifts the human’s metaphysical rational spirit subjectivity and successfully marginalizes the under-metaphysical existing way of body. The reason for this kind of result is that the new Enlightenment ideology still can not get rid of the linguistic control of the "Other" which symbolizes order. However, these disadvantages are effectively boycotted in the following new generation narrative.The new generation writers take the initiative to sever the discourse control of the ideology "Other", which is reflected in a similar "broken event", in the sexual discourse challenging the "patriarchy" and in the female writers’ body writing. Through the direct observation of the nature of body, the rejection of metaphor and the exhibition of the female body long suppressed by the male-interest oriented society, the new generation narrative has completed the excellent body writing in the literature history. The most direct consequence of the new generation narrative is lifting the noumenon body to the balance tactics which resists the emptiness of life, but the new generation inevitably heads for the complete nothingness when they finish the launching of the existing world poetically because of the nature of nothingness of language.The advent of consumer era makes the situations of body since the end of the 20^th century have a fundamental transition. A kind of art production, dissemination and reception mode based on the platform of mass consumption spreads out with the mode of economic globalization. The writers of the later 70s successfully transform body and its desire functions into things of desire that can be consumed. In the pleasant sensation of consuming things and the exchanges of pleasant sensations, body becomes a modern spectacle that not only reflects mass ideology but also controls mass ideology. Body exists as an object, spectacle and consumption in the form of metonymy. The new existing form of body symbolizes the advent of a spectacle society that phantasm is more important than reality.更多还原