解構(gòu)與批評

前言

　　This is neither a polemical book nor a manifesto in the ordinary sense. Ifit wants to "manifest" anything， by means of essays that retain the styleand character of each writer， it is a shared set of problems. These problemscenter on two issues that affect literary criticism today. One is the situationof criticism itself， what kind of maturer function it may claim——a functionbeyond the obviously academic or pedagogical. While teaching， criticizing，and presenting the great texts of our culture are essential tasks， to insist onthe importance of ]iterature should not entail assigning to literary criticismonly a service function. Criticism is part of the world of letters， and has itsown mixed philosophical and literary， reflective and figural strength. Thesecond shared problem is precisely that of the importance——or force——ofliterature. What does that force consist in， how does it show itself？ Can atheory be developed that is descriptive and explanatory enough toilluminate rather than pester works of art？　　There are many ways of describing the force of literature. The priority oflanguage to meaning is only one of these， but it plays a crucial role in theseessays. It expresses what we all feel about figurative language， its excessover any assigned meaning， or， put more generally， the strength of thesignifier vis-A-vis a signified （the "meaning"） that tries to enclose it.Deconstruction， as it has come to be called， refuses to identify the force ofliterature with any concept of embodied meaning and shows how deeplysuch logocentric or incarnationist perspectives have influenced the way wethink about art. We assume that， by the miracle of art.

內(nèi)容概要

本書對解構(gòu)主義進(jìn)行了深入論述。五位作者中，有當(dāng)代杰出的文學(xué)評論家，有解構(gòu)主義的創(chuàng)始人，有解構(gòu)主義運(yùn)動(dòng)的核心人物，還有當(dāng)代文學(xué)界著名的專家和學(xué)者。他們探討文學(xué)和文學(xué)理論的風(fēng)格卓異，但又各自展現(xiàn)了獨(dú)特的視角。本書對解構(gòu)主義理論的闡述極具開創(chuàng)性。

書籍目錄

　PREFACECONTRIBUTORS1. THE BREAKING OF FORM　Harold Bloom2. SHELLEY DISFIGURED　Paul de Man3. LIVING ON　Jacques Derrida4. WORDS, WISH, WORTH: WORDSWORTH　 Geoffrey H. Hartman5. THE CRITIC AS HOST　 J. Hillis Miller

章節(jié)摘錄

　　It is impossible to say, in either passage, how the polarities of light anddark are matched with those of waking and sleep; the confusion is thesame as in the previously quoted passage on forgetting and remembering.The light, in the second passage, is said to be like a dream, or like sleepCthe ghost of a forgotten form of sleep"）, yet it shines, however distantly,upon a condition which is one of awakening （"the sad day in which wewake to weep"）; in this light, to be awake is to be as if one were asleep. Inthe first passage, it is explicitly stated that since the poet perceives soclearly, he cannot be asleep, but the clarity is then said to be like that of aveil drawn over a darkening surface, a description which necessarilyconnotes covering and hiding, even if the veil is said to be "of light." Lightcovers light, trance covers slumber and creates conditions of opticalconfusion that resemble nothing as much as the experience of trying toread The Triumph of Life, as its meaning glimmers, hovers and wavers, butrefuses to yield the clarity it keeps announcing.This play of veiling and unveiling is, of course, altogether tantalizing.Forgetting is a highly erotic experience; it is like glimmering light becauseit cannot be decided whether it reveals or hides; it is like desire because,like the wolf pursuing the deer, ft does violence to what sustains it; it is likea trance or a dream because it is asleep to the very extent that it isconscious and awake, and dead to the extent that it is alive. The passagethat concerns us makes this knot, by which knowledge, oblivion and desirehang suspended, into an articulated sequence of events that demandsinterpretation.

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