【作者】 高奋；

【导师】 殷企平；

【作者基本信息】 浙江大学 ， 比较文学与世界文学， 2009， 博士

【摘要】 本论文以中西诗学为研究语境,全面观照英国作家弗吉尼亚·伍尔夫的小说理论,从本质、创作、批评、形式、境界五个方面阐明其诗学的渊源、内涵和价值,并以其代表作《海浪》为范例,从构思、构成、形式、境界等方面印证其诗学思想在作品中的实践。论文指出伍尔夫诗学的要旨是:文学本质上是表现生命的艺术形式,因而其创作、形式、批评和境界都是以生命真实为最高准则的,是超越理性认知和现实对应性的。这一思想昭示:文艺诗学本质上是美学与艺术的融合,任何单一的偏颇都可能使它走入困境。论文创新点是:透过伍尔夫的批判,全面反思西方传统诗学的局限。伍尔夫诗学的出发点是对摹仿论与修辞学研究法等西方主导诗学理念的质疑,以及对理性认知与二元对立等思维模式的批判。所批判的观点包括:文学本源(现实)被视为所认知的客观现实或心理现实或精神理念;文学构思被视为对素材和主题的组合和确认:文学批评被视为对作品的内在构成或外在语境的认知或阐释;文学形式被视为再现或表现认知对象的手段;文学真实被视为认知对象之真;以及主观与客观、物质与精神、内容与形式、事实与想象等二元对立的思维局限。为走出局限,伍尔夫实践了五个方面的超越:就本质而言,实践从表象到本真的超越:就创作而言,实践从感知到想象的超越;就批评而言,实践从认知到观照的超越;就形式而言,实践从对立到统一的超越;就境界而言,实践从真实到意境的超越。用中国诗学观照伍尔夫生命诗学的渊源、内涵和价值,重新认识融艺术与美学为一体的诗学的价值。伍尔夫所以能洞察西方诗学的局限,是因为其思想融艺术与美学为一体。其诗学渊源是生命共感,源自欧美文学经典、欧美艺术家的思想及其自身的创作感悟。其诗学内涵是:文学从本质上说是记录生命的艺术形式:它以生命为创作定位,视现实为主体精神和客观实在的契合,视构思为有机想象过程;它坚持批评是从观到悟的审美体验;它视生命的情感思想为文学的构成,视情感思想的艺术表现为形式;它将真实视为事实之真、想象之真、心灵之真等生命真实的契合;它以物境、情境和意境表现文学的境界,其意境具有“超以象外”的特征,其核心指向生命本真;其思想与中国诗学中的虚静说、神思说、知音说、妙悟说、趣味说、文质说、真幻说、意境说等相通。其诗学价值是,以生命真实为最高准则,超越人类理性认知的局限,走向天人合一的境界。以创作实践映现诗学思想的价值。全面研究伍尔夫诗学思想在其作品《海浪》中的实践,不仅整体观照一种新的表现形式,而且深入把握其思想的可行性和实践性。《海浪》的艺术实践表现出“以记忆叙述生命”的构思模式、“以情感思想构建生命”的构成特征、“以情感关系表现生命精神”的形式特征和“以情景交融表现生命之境”的艺术境界,其创作特征与诗学思想相应合,充分说明其诗学的重要价值。本论文在政治、文化研究之外另辟蹊径,回归伍尔夫思想及作品本身,重在反思西方学界对基于艺术感悟的诗学思想的忽视,有益于推进美学理论与艺术感悟的融合,促进国际学界对中国传统诗学的认识。更多还原

【Abstract】 With Chinese and western poetics as research contexts, this dissertation is an attempt at a holistic approach to Virginia Woolf’s theory of fiction, in order to clarify, on the one hand, the origin, contents and the value of Woolf s life poetics in terms of its nature, stance, critical methods, literary forms and artistic state, and to justify, on the other hand, Woolf s practice of life poetics in The Waves in the areas of creative conception, constituent, literary form and artistic state. It discloses the gist of Woolf s life poetics, which holds that literature is in essence an artistic form to express life, with the innate truth of life as the highest criterion of its writing, form and criticism, transcending rational cognition and realistic correspondence. The gist reveals that poetics is by nature a synthesis of aesthetics and arts, and any separation between the two may lead to its impasse. The original points of the present dissertation are as follows.It reflects upon limitations of traditional western poetics by means of Woolf s critique. The starting points of Woolf s poetics are refutations of the dominant tenets of western poetics, such as mimetic theory, rhetoric methodology, rational cognition and binary opposition, and the particular hypotheses refuted are as follows: literary reality is regarded as object or consciousness or truth represented; literary conception is considered to be material arrangement; literary criticism is defined as cognition of constituent or interpretation of context; literary form is deemed to be methods of representation or expression; literary truth is judged in accordance with its verisimilitude to the object itself; and binary opposition between material and spirit, subjectivity and objectivity, content and form, fact and imagination as well. To achieve a breakthrough in the field of poetics, Woolf attempts transcendence from five perspectives, namely, from appearances to essence by nature, from sensation to imagnation in writing, from cognition to perception in criticism, from binary opposition to unity in form, and from verisimilitude to sublime state in criterion.With Chinese poetics as research context, the present dissertation not only surveys the origin, contents and the value of Woolf s life poetics, but also reevaluates the significance of its synthesis of arts and aesthetics. It is owing to the unity of arts and aesthetics that Woolf is able to throw insight into the limitations of western poetics. The origin of Woolf s poetics is the sameness of life that human beings share, originated from the European literary canon, European artists’ thoughts and her own writing perception. The content of Woolf’s poetics can be summerized as follows: it defines literature in essence as an artistic form to record life, with life as its focus, reality as a unity of spirit and object, conception as an organic imagnative process, criticism as an aesthetic experience from perspective to perception, constituent of literature as emotions and thoughts, form as artistic expression of emotions and thoughts, truth as a synthesis of that of facts, imagination and inner life, artistic state as that of object, emotion and image, characterized with transcendence and pointing at the invisible essence of life. It’s quintessence is identical with that of Chinese poetic ideas, such as Xujing, Shensi, Zhiyin, Miaowu, Quwei, Wenzhi, Zhenhuan, Yijing, etc. The significance of Woolf s poetics is that it breaks through the limits of human rationality and cognition, and reaches a world of unity with human beings and the Great nature being one.The present dissertation justifies the feasibility and value of Woolf’s poetics by analyzing the practice of her theory in her masterpiece The Waves. The artistic features of The Waves are unique, with "memory narrative" as its conception model, "thoughts and emotions configuration" as its constituent characteristics, "formative relationship of emotions and thoughts" as its formal attribute, and "unification of emotions and scenes" as its artistic state. These practical features conform to the core of Woolf s poetics, which verifies its significance.In contrast to political and cultural approaches flourishing in recent years, the present dissertation restores the Woolfian study to her thoughts and works themselves, which is intended to question the negation of artistic perception in the field of literary theory, to appeal for unification of arts and aesthetics, and to promote an international recognition of the value of Chinese poetics.更多还原