标题: 从美学、政治到非裔美国表现文化:雷夫•艾利森《隐形人》批评之批判
From Aesthetics, Politics to Afro-American Expression: A Critique of the Criticisms on Ralph Ellison's Invisible Man
作者: 王远洋
Wang, Yuan-Yang
林建国
李有成
Lim, Kien-Ket
Lee, Yu-Cheng
外国语文学系外国文学与语言学硕士班
关键字: 艾利森;《隐形人》;美学接受理论;黑人美学;艺术与抗议;非裔美国表现文化;Ralph Ellison;Invisible Man;reception theory;the Black Aesthetic;art and protest;Afro-American expression
公开日期: 2008
摘要: 本文主旨在讨论艾利森的《隐形人》与非裔美国表现文化之间的连结,并以此为主轴回应六0年代黑人美学中传承自哈林文艺复兴以来美学与政治的难题。艺术与抗议是非裔美国文学史中的重要议题,牵涉到黑人写作的美学目的和政治目的。本文首先以尧斯(Hans Robert Jauss)的美学接受理论(reception theory)来定义艾利森作为一名强调读者角色的“生命世界现代主义作家”(life-world modernist)。从现代主义作家,到表意的现代主义作家(signifying modernist),本文提出生命世界现代主义作家不标榜为艺术而艺术,而将艺术释交给普通读者,这就是艾利森眼中非裔美国表现文化的特色之一。在此同时,本文也集中评析赫欧(Irving Howe)、倪尔(Larry Neal)与盖尔(Addison Gayle)三位批评家对《隐形人》的负面批评说明他们的政治意图掩盖了《隐形人》中的“不明事物的诸形式”(the forms of things unknown),也就是非裔美国表现文化,而其正是艾利森不愿将《隐形人》化约为抗议文学(protest writing)的首要因素。本文最后以分析《隐形人》来强调艾利森透过他自身所经验的表现文化形式在小说中体现了黑人独特的生命世界,也抗拒了美学与政治对非裔美国表现文化的物质化(materialize)。对艾利森而言,书写的目的在于向读者诉说对生命世界的经验本身,而非为艺术或为抗议。以非裔美国表现文化回归黑人的生命世界,《隐形人》跨越了六0年代黑人美学中美学与政治的二元对立。
This thesis mainly discusses the linkage between Ralph Ellison’s Invisible Man and Afro-American expression to explore the aporia of aesthetics and politics in the Black Aesthetic of the 1960s since the Harlem renaissance. Art and protest in the history of Afro-American literature is an inherent issue, and it engages the aesthetic goal and political goal for the black writers. On the one hand, Ellison is defined as a “life-world modernist” who emphasizes the role of the reader in a sense of Hans Robert Jauss’s reception theory in this thesis. From a modernist, a signifying modernist to a life-world modernist, Ellison does not recognize the label of art for art’s sake. Instead, he releases the work of art to the common readers. This is one of the features of Afro-American expressive culture in Ellison’s sense. On the other hand, I situate the negative criticisms on Invisible Man, particularly that of Irving Howe, Larry Neal, and Addison Gayle, to show that their political aims make them ignore “the forms of things unknown,” the Afro-American expression. Reasonably, Ellison disregards the novel as a piece of protest writing due to Afro-American expression. The final part is the textual analysis of Invisible Man. Through his personal experience, Ellison carries the life-world of the black people with writing and de-materializes the Afro-American expression which is based on art and protest. From this point of view, Invisible Man leads the readers to perceive the experience of experiencing of the life-world and escape the binarism of aesthetics and politics in the Black Aesthetic during the 1960s.
URI: http://140.113.39.130/cdrfb3/record/nctu/#GT079545502
http://hdl.handle.net/11536/41360
显示于类别:Thesis


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