第四节 共同著作说——一种可能的解决方案02(1 / 1)

为了让新阶级能够取代旧的制度,一种新的话语方式——在这种方式中封建意识形态的正统性受到挑战——就成为必需。巴赫金狂欢实践中出现的离题式实践为这样一种新的话语方式的产生提供了机会,因为它们欢庆着“无所不届之真理和权威的相对之光”。[129]

正如卡纳耶夫所描述的那样,“大使认为向他们的政府汇报关于水螅的新发现是他们的责任,同时一位解剖学教授莱开特,甚至宣称未来将有两件事为18世纪增光添彩:一是电的发现,一是淡水水螅的发现。他还援引一位巴金医生写于1742年的话:‘一种微不足道的小动物向世界宣告它的诞生并且改变了迄今为止宇宙的永恒秩序。哲学家们为这一发现感到震惊,诗人则会告诉你甚至就连死神面对这一发现也会黯然失色……简言之,看到这一景象的人会感到头晕眼花的。’”[130]

除了卡纳耶夫以外,最常被人提到的小组成员,还有科甘。关于他,学界一般认为“他(指巴赫金——笔者)对赫尔曼·柯亨的批判和阐释以及后来对马堡学派其他成员的接受和欣赏是通过他亲密的指导者和朋友米·伊·科甘过滤过的,科甘曾在柯亨指导下学习,并旁听过当时德国各个大学的课程。”[131]

总之,“在巴赫金群体中除了巴赫金自己,没有任何人着手解决创造‘第一哲学’的任务,但也正是这一显著的创作定向为巴赫金在这一组人文学者中的优势地位提供了保障,他们都和他具有相同的思维方式,并且他们也和他一样坚定地相信哲学是‘所有学科的元语言’,而这使得巴赫金成为在讨论中被人们讨论最多、关注最多的小组成员。”[132]如果不参照他的小组就无法理解巴赫金,而且这不仅只限于小组成员在学术和哲学探索中相互分享的那些方面,因为这一点实在是再明显不过了。不参照他所属的群体之所以无法理解他,是因为“巴赫金小组”和他有关陀思妥耶夫斯基、拉伯雷以及长篇小说话语问题的著作一样,也许是他最主要的创作成果。“巴赫金小组”同时既是源泉,也是创造的目的,而且也是对话学说的一个非常特殊完整统一的文学纪念碑。如果说陀思妥耶夫斯基的复调小说是文学艺术中复调倾向最完美最辉煌的表现的话,那么在“巴赫金小组”中,在每个学术团体中都有所包含的对话原则达到了很高甚或是最高的极致。

[1] Michael Gardiner:The Dialogics of Critique:M.M.Bakhtin and the Theory of Ideology,London and New York:Routledge Press,1992,p.22.

[2] Victor Erlich:Russian Formalism:History Doctrine,Fourth edition,The Hague,Paris,New York:Mouton Publisher,1980,preface.

[3] Michael Gardiner:The Dialogics of Critique:M.M.Bakhtin and the Theory of Ideology,London and New York:Routledge Press,1992,p.91.

[4] Michael Gardiner:The Dialogics of Critique:M.M.Bakhtin and the Theory of Ideology,London and New York:Routledge Press,1992,p.68.

[5] Виктор Шкловский:Ход коня.Сборник статей.Москва,Берлин:Книгоиздательство Геликон,1923,С.39.按:什克洛夫斯基的原话是:“Искусство всегда было вольно от жизни,и на цвете его никогда не отражался цвет флага над крепостью города.”(参考译文:“艺术永远独立于生活,在它的色彩中从未对城堡上空旗帜的色彩有所反映。”)

[6] 参阅该书第4章脚注。

[7] 弗里契(Владимир Максимович Фриче,1870~1929),苏联文艺学家,艺术理论家。苏联科学院院士(1929),一些文学研究机构的领导人。力图用马克思主义方法研究西欧的艺术。研究了艺术社会学的基本问题。弗里契在论述美学和现代文学创作等著作中,采用的是庸俗社会学的方法论。

[8] 参阅瓦·米·弗里契《社会学诗学》问题,转引自Анастасия Гачева,Ольга Кавнина,Светлана Семенова:Философский контекст русской литературы 1920-1930-х годов,Москва:ИМЛИ РАН,2003,С.162,сноска 65.

[9] 俄罗斯的欧亚主义:欧亚主义提法见于19世纪20年代,以一种介于“斯拉夫派”和“西欧派”之间的面目出现,认为“俄罗斯既非欧洲国家,也非亚洲国家,而是处于欧亚之间,是联结欧亚文明的桥梁”。他们主张世界文明的多极性,认为俄罗斯可以利用横跨欧亚大陆的历史和地理空间,吸收世界各民族文明中的积极因素,创造出“欧亚文明”,进而成为世界文明中的一极。(互动百科)

[10] Craig Brandist,David Shepherd and Galin Tihanov(eds.):The Bakhtin Circle:In the Master s Absence,Manchester and New York:Manchester University Press,2004,p.51.

[11] Victor Erlich:Russian Formalism:History Doctrine,Fourth edition,The Hague,Paris,New York:Mouton Publisher,1980,p.41.

[12] Carol Adlam,Rachel Falconer,Vitalij Makhlin and Alastair Renfrew:Face to Face:Bakhtin in Russia and the West,Sheffield,England:Sheffield Academic Press,1997,pp.233-234.

[13] 〔英〕拉曼·塞尔登、彼得·威德森、彼得·布鲁克:《当代文学理论导读》,刘象愚译,北京,北京大学出版社,2006,第36~37页、第47页。

[14] 〔苏〕巴赫金:《文艺学中的形式主义方法》,李辉凡,张捷译,桂林,漓江出版社,1989,第38页。

[15] 原作者意指巴赫金,但实为此书的作者梅德韦杰夫和沃洛希诺夫。——笔者

[16] Е.В.Волкова:Эстетика М.М.Бахтина,Москва:Знание,1990,С.57.С.С.Конкин,Л.С.Конкина:Михаил Бахтин.Страницы жизни и творчества,Саранск:Мордовское книжное издательство,1993,С.21.

[17] Victor Erlich:Russian Formalism:History Doctrine,Fourth edition,The Hague,Paris,New York:Mouton Publisher,1980,p.64.

[18] 〔苏〕巴赫金著,钱中文主编:《巴赫金全集》第2卷,李辉凡、张捷、张杰等译,石家庄,河北教育出版社,1998,第109页。

[19] 奥西普·勃里克(Брик Осип Максимович,1888~1945),俄国文学理论家。

[20] Craig Brandist,David Shepherd and Galin Tihanov(eds.):The Bakhtin Circle:In the Master s Absence,Manchester and New York:Manchester University Press,2004,p.59.

[21] Медведев:Формальный метод в литературоведении,Москва:Лабиринт,2003.

[22] 上述引文摘自V.弗里契的《社会学诗学原理》(参阅《共产主义科学院公报》1926年第17期,第169页。由帕·梅德韦杰夫在其《文艺学中的形式主义方法》中引用)。

[23] М.М.Бахтин:Pro etcontra.Личность и творчество М.М.Бахтина в оценке русской и мировой гуманитарной мысли,Антология.Том 2,Санкт-Петербург:Издательство Русского Христианского гуманитарного института,2001,С.11.

[24] М.М.Бахтин:Pro etcontra.Личность и творчество М.М.Бахтина в оценке русской и мировой гуманитарной мысли,Антология.Том 2,Санкт-Петербург:Издательство Русского Христианского гуманитарного института,2001,С.17.

[25] 〔苏〕巴赫金著,钱中文主编:《巴赫金全集》第5卷,白春仁、顾亚玲译,石家庄,河北教育出版社,1998,第364~365页。

[26] 〔苏〕巴赫金著,钱中文主编:《巴赫金全集》第2卷,李辉凡、张捷、张杰等译,石家庄,河北教育出版社,1998,第155页。

[27] Mikhail N.Epstein:After the Future,Amherst:The University of Massachusetts Press,1995,p.14,p.17,p.104.

[28] Ю.М.Лотман:Письма 1940-1993,Москва:Школа 《Языки русской культуры》,1997,С.331.

[29] Caryl Emerson:The First Hundred Years of Mikhail Bakhtin,New Jersey:Princeton University Press,1997,p.38.

[30] 王宁:《文化翻译与经典阐释》,北京,中华书局,2006,第269页。

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[32] Michael E.Gardiner:Mikhail Bakhtin,Vol.2,London.Thousand Oaks,New Delhi:Sage Publications,2003,p.108.

[33] Г.В.Карпунов,В.М.Бориский,В.Б.Естифеева:Михаил Михайлович Бахтин в Саранске очерки жизни и деятельности.2-е издание,переработанное и дополненное,Мордова:Издательство мордовского университета,1995.

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[35] 王宁:《文化翻译与经典阐释》,北京,中华书局,2006,第269页、第271-272页、第277页。

[36] Carol Adlam,Rachel Falconer,Vitalij Makhlin and Alastair Renfrew:Face to Face:Bakhtin in Russia and the West,Sheffield,England:Sheffield Academic Press,1997,p.32.

[37] Peter Ives:Gramsci s Politics of Language,Engaging the Bakhtin Circle and the Frankfurt School,Toronto,Buffalo,London:University of Toronto Press,2004,p.59.

[38] 托德·E.戴维斯和肯尼思·沃马克就径直把巴赫金当作俄国形式主义者。Todd E.Davis,Kenneth Womack:Formalist Criticism and Reader:Response Theory,London:Palgrave,2002,p.47.

[39] E.Ann.Kaplan:Postmodernism and its Discontents,London,New York:Verso,1988,pp.116-117.

[40] 〔美〕卡特琳娜·克拉克,迈克尔·霍奎斯特:《米哈伊尔·巴赫金》,语冰译,北京,中国人民大学出版社,2000,第7~8页。

[41] Gary Saul Morson,Caryl Emerson:Mikhail Bakhtin:Creation of a Prosaics,California:Stanford University Press,1990,p.4.

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[45] 〔英〕拉曼·塞尔登、彼得·威得森、彼得·布鲁克:《当代文学理论导读》,刘象愚译,北京,北京大学出版社,2006,第36~37页。

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[53] 《圣经·马太福音》第25章:“凡有的,还要加给他,叫他多余。没有的,连他所有的都要夺过来。”1973年,美国科学史学家默顿用这几句话概括一种社会心理现象:“对已有相当声誉的科学家所做的科学贡献给予的荣誉越来越多,而对那些未出名的科学家则不承认他们的成绩。”

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[67] 古科夫斯基(Григорий Александрович Гуковский,1902~1950),苏联文艺学家。先后在列宁格勒大学和萨拉托夫大学任教授,对18世纪俄罗斯文学有深入研究,写有论普希金和果戈理的专著。以全面的社会及历史分析见长。

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