最輝煌的失敗

前言

　　1949年諾貝爾文學獎獲得者威廉·福克納（1897-1962）是美國南方作家，也是世界文壇公認巨匠；?？思{研究是國際學界研究重點，在國內(nèi)也幾成顯學。美國學界近年推出的有關(guān)他的成果幾可與莎翁相匹敵，可見其經(jīng)久不衰之魅力。世紀之交和新世紀之初的福克納研究未見降溫。除了數(shù)量龐大的論文和專著外，2002年和2003年的福克納年會分別聚焦?？思{和他的同代人以及?？思{與南方生態(tài)文化的關(guān)系。國內(nèi)自1992年在北大召開了第一屆全國?？思{討論會以來，已舉行數(shù)次專題學術(shù)會議。?？思{的代表作品、評論和傳記的中譯本相繼出版。老一輩譯介者中李文俊、陶潔、藍仁哲、姚乃強等首當其沖，新生代評者中肖明翰、劉建華、何文敬（我國臺灣）的研究成果較為突出。近年還有廖彩勝、朱振武分別著書探討?？思{作品中的語言文化標志和心理美學層面等。此外，每年還有為數(shù)眾多的論文問世。　　我同?？思{結(jié)緣最早在20世紀90年代。在安徽師范大學英語系我很幸運地得以追隨美籍專家布拉德·博蘭（Brad Borain）先生學習美國文學，他虔誠的信仰、高尚的人格、時新的教學手段和意識（他一夜之間在一臺機器上產(chǎn)出數(shù)十頁的文章，當時堪稱神奇，我們后來得知那神秘玩意兒是PC286）和嚴謹?shù)闹螌W態(tài)度讓我受益終身。博蘭先生對《獻給愛米麗的一朵玫瑰》的講解讓我歡喜讓我憂：喜如威廉·華滋華斯漫步湖邊突遇水仙花般享受到巨大的審美愉悅，原來故事竟可以如此立體交叉地敘述，也可以如此開放地去闡釋！憂的是如何跟進發(fā)展如此迅捷的文學批評潮流，從而能進一步了解、研究這一位頗具神秘色彩的天才作家。很遺憾的是，1991年博蘭先生離開中國后我便迷失了方向?！　≡俅谓佑|?？思{已是1999年，那時我考取了安徽大學外國語學院碩士研究生。安徽大學有著怡人的學習環(huán)境，外國語學院藏書豐富的閱覽室成就了大批英才。在責任導(dǎo)師周方珠教授的要求下，我開始廣泛閱讀國內(nèi)外名著，其中就包括福克納的《我彌留之際》《八月之光》《喧嘩與騷動》和《押沙龍，押沙龍！》等。在撰寫碩士論文《誰害怕威廉·?？思{：解密（我彌留之際）》時，我細讀目標文本達15遍之多，提出“漩渦假說”，受到答辯委員會的好評。但由于沒有理論的架構(gòu)，連自己都覺得這只是一種感性推斷。好在讀博期間，我終于找到可以支持該假說的互文性理論，寫成《處于漩渦隱喻中心的艾迪》一文在北京大學《國外文學》2009年第1期發(fā)表。

內(nèi)容概要

　　種族主題是美國南方作家——諾貝爾文學獎獲得者威廉·?？思{畢生關(guān)注的核心問題之一。從《軍餉》（1926）到《掠奪者》（1962），福克納堅持對黑、白種族關(guān)系進行思索并對黑人群體進行藝術(shù)表現(xiàn)。與此同時，各派別的評家也對小說家的黑人觀進行了追蹤研究。《最輝煌的失?。焊？思{對黑人群體的探索》作者概述了相關(guān)主題70年來的批評史，發(fā)現(xiàn)現(xiàn)有評論中存在兩大問題：一是對作家非代表性作品及其中黑人形象的“歧視”；二是迄今為止尚無一部以小說家全部作品為對象的足本研究。鑒于此，《最輝煌的失?。焊？思{對黑人群體的探索》試圖通過分析36年間的不同階段福克納在社會歷史、心理、美學等層面塑造黑人的成就及不足，展現(xiàn)其“拋物線”式架構(gòu)，并從中得出結(jié)論：小說家在這一主題上畢生的努力是“最輝煌的失敗”，是一顆“沖突的心靈”苦心孤詣、戲劇化地表現(xiàn)無數(shù)“沖突的心靈”的結(jié)晶。　　《最輝煌的失?。焊？思{對黑人群體的探索》由7章組成。第一章 通過解析黑人主題、創(chuàng)作背景和南方作家之間緊張的三角關(guān)系，旨在證明只有擁有“?？思{式”天賦和勇氣的作家才能沖出重圍，實現(xiàn)自己的“文學夢”。作為美學核心的黑人和南方社會對于黑人的敵視與動蕩多變?yōu)槟戏阶骷規(guī)砹藱C遇，也帶來了挑戰(zhàn)。以?？思{為土要代表的南方作家勇于直面種旗問題，經(jīng)歷了好似將“只撕咬尖叫的貓塞進口袋”一般的痛苦思索和艱難的創(chuàng)作過程，從而促進了“南方文藝復(fù)興”。福克納則更為神奇地將個雙重種族的南方小鎮(zhèn)及其故事編織進自己的文學王國——“約克納帕塌法及之外”。

作者簡介

　　鮑忠明 （1970-），安徽天長人，北京外國語大學英語語言文學博士。研究方向：美國小說及西方現(xiàn)當代文論?，F(xiàn)主要從事威廉·?？思{研究，在《國外文學》《山東外語教學》等雜志發(fā)表相關(guān)論文數(shù)篇。

書籍目錄

IntroductionⅠ.White ResponseⅡ.African American ResponseⅢ.Chinese ResponseⅣ.Contribution and Organization of the BookChapter One A Tense Triangle: the Blacks, the Sooth and the Artist1.1 The Blacks as the Center of Racial and Aesthetic Concerns1.2 The South as the Center of Turbulent Changes1.3 The Writer as the Center of CreativityChapter Two A Promising Start2.1 An Extensive Awareness of Black Presence2.2 The First Confrontation with a Named Black Family2.3 First Encounter with Mulattoes2.3.1 Mulattoes in Flags in the Dust2.3.2 Mulattoes in "There Was a Queen"Chapter Three A Swift Rise3.1 A Black Family Granted Central Vision3.2 Victim of Sexual Exploitation3.3 Victim of Environment and indian SlaveryChapter Four A Psychological Leap4.1 The First Systematic Demystification of Miscegenation4.2 Dramatization of the Hysterical White Gyneolatry4.3 Dramatization of Black as a "Tainted Idea"4.4 Dramatization of "Blood" MythChapter Five Two Summit Achievements5.1 A Blacks "Encyclopedia"5.2 A Blacks "Manifesto"Chapter Six The Descending Curve6.1 The Descent6.2 The Symptoms6.2.1 The Old Confederate Game Replayed6.2.2 The Deified "Tyrant" and the Mystifying "Nun"6.2.3 The Plummeting to the Ground6.3 Tile Persistent Efforts6.3.1 From Abstraction to Experience6.3.2 From "Watching" to "Doing"Chapter Seven The Limited Faulkner7.1 The Stereotypes Revisited7.2 Intruder in the Text7.3 Neglect of Intra racial RealitiesConclusionBibliography

章節(jié)摘錄

　?。╓arren 1966, 89）. Negroes, who confront the white man from birth to death forgenerations, prove an excellent candidate for the linkage between history and reality. Soin placing his story against southern familial heritage, Fanlkner discovers that, to quoteDavis again, "the Negro is a viable means of relating his major concerns to the past, ofsupplying an additional perspective upon the meaning of that past, and of increasingdramatic tensions between the past and present" （1983, 68）. To illuminate the concretefunctions the blacks serve, we need to turn to the black characters themselves.　　In Flags in the Dust, Negroes get more individualized treatment than in SoldiersPay. Simon, the Sartoris family coachman and butler is described as both "Negro" and"a Negro." In the first place, whether drawn from plantation literature or from thefeatures of one of the Falkner family retainers （Simon is generally thought to owesomething to the Falkner family servant Ned Barnett）, Simons portrait has thereassuring face of a black happy with paternalism. He is introduced into the scene withmarvelous affinity with horses and adoration for the Sartorises:　　Simon sat on the seat with the reins in his left hand and the thong of the whip caught smartly back in his right and usually the unvarying and seemingly incombustible fragment of a cigar in his mouth, talking to the horses in steady, lover-like flow. Simon spoiled horses. He admired Sartorises and he had for them a warmly protective tenderness, but he loved horses, and beneath his hands the sorriest beast bloomed and acquired comeliness like a caressed woman, temperament like an opera star. （FID 8） The impression of a comic black stereotype is enforced a passage away where hedisplays "his races fine feeling for potential theatrics" （ibid）, "a typically generalizingremark in this novel," notes Richard Gray, "which, like SP, reduces black people toobjects"（1994, 132）. He is physically "Negro." He reeks of "normal odours" （FID 324）and is often cast in animal imagery. "His disembodied head [looks] like that of thecurious and wizened grandfather of all apes"（FID 273）,"he scuffed across to the tablewith sounds as of a huge rat （ibid） and during our last view of him, he "look[s] like afrog" （FID 419）. He is proud of the Sartoris quality and of being a member of the bestfamily, so much so that he does not open his mouth without mentioning "equipage" and"gentmun" （FID26, 119,120,121）. In the same token, he views other "niggers" with"tolerant and easy scorn" （FID 262）.

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