文學(xué)印象主義與薇拉·凱瑟的美學(xué)追求

前言

　　經(jīng)過三年的艱苦努力，孫曉青的博士論文寫成了，得到了專家學(xué)者的好評。又經(jīng)過一年的修改和充實，在河南大學(xué)外語學(xué)院的支持下，一部體現(xiàn)她學(xué)術(shù)追求的專著即將問世，這是她多年心血的結(jié)晶。作為這一結(jié)晶的見證人，我為這部專著的作者表示衷心的祝賀?！　　拔膶W(xué)印象主義與薇拉·凱瑟的美學(xué)追求”是一個有相當(dāng)難度的選題。難就難在要找到兩者的契合點。而且文學(xué)印象主義沒有統(tǒng)一明確的概念定義。該書首先追溯了印象主義繪畫的特點，指出作為一個從法國繪畫流派逐漸發(fā)展起來的影響到整個歐洲文藝思潮的藝術(shù)流派，印象主義畫家們的創(chuàng)作有著極其鮮明的藝術(shù)特征：他們以光和色作為認(rèn)識世界的中心，再現(xiàn)個人瞬間視覺印象，強(qiáng)調(diào)繪畫的審美功能，而后印象主義重視個體主觀感受，追求主觀世界的表現(xiàn)，這些特征給文學(xué)創(chuàng)作帶來了深刻的啟示和深遠(yuǎn)的影響。作者又歸納了文學(xué)印象主義的起源和歷史發(fā)展過程，并在此基礎(chǔ)上總結(jié)歸納文學(xué)印象主義的概念及特點，指出文學(xué)印象主義概念含糊的原因之一是沒有抓住印象派繪畫和文學(xué)印象主義的共同內(nèi)核：他們的作品是畫家、作家用其主體的目光去審視世界，作品是其主體生命、情感和審美的承載，是主體意識萌生的表征。

內(nèi)容概要

本書在第一章簡介里首先綜述凱瑟小說在國內(nèi)外學(xué)界的接受和反應(yīng)，追溯了文學(xué)印象主義的起源和歷史發(fā)展過程，并在此基礎(chǔ)上總結(jié)歸納文學(xué)印象主義的概念及特點，指出文學(xué)印象主義概念含糊的原因之一是沒有抓住印象派繪畫和文學(xué)印象主義的共同內(nèi)核：他們的作品是畫家、作家用其主體的目光去審視世界，作品是其主體生命、情感和審美的承載，是主體意識萌生的表征。

書籍目錄

Chapter One Introduction
　1.1. A Brief Review of the Critical Reponses toWilla Cather's
Novels
　1.2 A Survey of Impressionism in Painting
　1.3. A Bird's-eye View of the Situation betweenSubject and Object
in Traditional Paintings
　1.4. A General Introduction to Literary Impressionism
Chapter Two The Snbjective Consciousness in Color
　2.1. The Use of Color to Paint Pictures in Cather's Mind's
Eye
　2.2. The Use of Color to Suggest Emotion iri0 Pioneers.t and My
Antonia
Chapter Three The Composition
　3.1. The Dot Composition
　　3.1.1. Simplification
　　……

章節(jié)摘錄

　　The reader's difficulty in coming to terms with The Professor 'sHouse largely results from Cather's use ofjuxtaposition. The novelmay very well be Cather's most perplexing book. Cather evidentlytakes pains to achieve internal consistency by inserting“TomOutland's Story”in it. Why does the author go out of her way tocomplicate a narrative which can be essentially simple in its temporalrange？ It would be possible to tell the stories in linear form， but the meaning resulting frorn the co-presence of events would be lost.“The disorder， afier all， is deliberate and has specific effects”；“Tslome kindof moral discovery should be the object of every tale，”（Conrad 1897：60）writes Conrad. By“moral discovery”Conrad does not meanmerely the illustration of a preconceived moral truth. It is in thecreation of the work of art that the discovery is made.“The good andhonest artist does not illustrate， he creates；and that very act of artisticcreation，that moulding into significant form of some thing or part oflife，is in itself a discovery about the nature of life，and ultimately itsvalue will lie in the value of that discovery.”（Carabine 1992：559）Astudy of Cather's narrative technique in The Professor's House willshow that she reveals something of her attitudes to the story told，something of her total vision of the world， her sense of individualdestiny. Her narrative method is functionally related to herimagination and her vision ofher world.　According to Joseph Kestner，the modern authorial technique ofusing narrative frames“not only emphasizes the spatial pictorialquality of the plot...but also functions in another atemporal manner， as a delay....Such enclosures serve the presentation of 'simultaneousactions”' （Kestner 1978：72）. Whereas Tom Outland's narrativeoccurs logically and chronologically before St. Peter's memory， thissimultaneous occurrence， which halts the outer linear narrative of St.Peter's life， also illustrates what Joseph Frank has called the“spatialization of form in a novel”.In the spatialized novel，F(xiàn)ranksays，“For the duration of the scene，at least，the time-flow of thenarrative is halted； attention is fixed on the interplay of therelationships within the immobilized time area. These relationshipsare juxtaposed independently of the progress of the narrative， and thefull significance of the scene is given only by the reflexive relationsamong the units of meaning.”（Frank 1956：16）Thus， for the durationof “Tom Outland's Story” attention focuses on Tom's relationship toRoddy and to the ancient cliff dwellers themselves. However， whenthe narrative window on the past closes and the focus retums to St.Peter in his study， both St. Peter and the reader will reflect on the .significance ofthe scene and on its relationship to St. Peter's life.Cather's comparison of the novel to Dutch genre paintingsuggests her use of spatial structure.“Tom Outland's Story”functionswithin the novel like a painting within a painting.This spatialstructural analogy offiction and painting has implications not only forthe overall structure of the novel but also for individual scenes.“Planting his easel or his camera at one of the points of the spaceevoked，the novelist will discover all the problems of framing， ofcomposition， and ofperspective encountered by the painter.”（Kestner1978：72）Like a painter，then，Cather creates a verbal picture of theCliff City：“that cluster of buildings， in its arch， with the dizzy dropinto empty air from its doorways and the wall of cliff above， was asclear in [my] mind as a picture. By closing[my]eyes could see it against the dark， like a magic-lantern slide.”（PH，204） Here is the spatial depth and the hint of color associated with painting.　Juxtaposition-“setting one thing beside the other withoutconnective” （Shattuck 1968：332），isolates narrative formulas ofconnections between one situation and another. The isolated scenes or events constitute the minute blocks by which the “house”of fiction is constructed. And the whole meaning of the text lies in the linkage ofthese blocks. Therefore，not only the event but also its placement iscrucial：“Each element is qualified by the position it occupies in the total picture.”（Kestner 1978：125） These are juxtaposed by the authorto create a synthesis of meaning between them. The reader has toperceive them simultaneously in order to get the entire pattern of internal references， just as one visually juxtaposes the compositionalelements of an impressionist painting. Only afier the reader is inpossession of all the elements and is active in re-constructing them can he get the meaning ofthe story. Therefore，[tlhe Aristotelian dicta on beginning， middle， and end， on singleness of place and time and character， cannot apply to works that seek neither the balance of classic architecture nor the schematic psychologyof classic theater. Like the portraitist who can begin his sketch with the necktie and end with the pupil of the eye， or vice versa，artists haveclaimed a freedom to begin anywhere and end anywhere.　　（Shattuck 1968：347）Just like the impressionist painters， the writer can also “begin anywhere and end anywhere”，so everything in the novel canberegarded as middle； every event is in the dynamic process of beginning and developing.Its life lies in its relationship with other events. Moreover，striving to reveal the entire universe in its potentialunity at a moment of time，juxtaposition produces an explosive，exciting texture in which connectives are actively missed. It reproduces a compression and condensation of mental processes uponthe reader with a certain density to the scenes or events. Inevitably it“entails a set of characteristics often criticized in modernart-obscurity， illogicality， inept style，and abruptness”（Spencer 1971：339）.As Roger Shattuck comments，“The arts ofjuxtapositionoffer difficult， disconcerting， fragmented works whose disjunctivesequence has neither beginning nor end. They happen without transition and scorn symmetry.”（Shattuck 1968：333） For this reason，the reader of such a structured novel is surrounded with conflict and contrast and cannot expect to reach a point of rest or understanding inthe conventional sense. He has to make a great effort to fit theisolated events，and has to keep his wits about him and grasp the moment in its total significance. He has to collaborate actively inorder to pursue the developments and associations that have been barely suggested. He is always in the process of searching， matching and sorting out its internal order in order to build a new unity of experience among the fragments. In thissense， the reader becomes the architect ofthe “house” ofthe novel.　　So juxtaposition opens up interpretive possibilities for the readerand manifolds layers of textual self-referentiality. Facing the juxtaposed structure， the reader has to construct a synchronic reading　in order to dig out the author's moral and philosophic judgment. The reader must work out for himself what connections are to be made among the seemingly disconnected parts.　　……

媒體關(guān)注與評論

　　本書提出從文學(xué)印象主義對美國作家薇拉·凱瑟的作品進(jìn)行闡釋和解讀的新課題。該書作者追溯了印象主義繪畫與文學(xué)的共同內(nèi)核，強(qiáng)調(diào)作家強(qiáng)烈的主體意識和審美情感捕捉瞬間感覺印象，然后將一系列流動的印象進(jìn)行并置，通過新的藝術(shù)手法表達(dá)小說的深層意蘊(yùn)?！　　萁ㄈA教授 上海外國語大學(xué)博士生導(dǎo)師　　　　孫曉青博士運用細(xì)讀的方式分析了凱瑟最有代表性的四部小說，揭示凱瑟對色彩、構(gòu)圖等印象主義繪畫元素的運用以及在表現(xiàn)作品主體意識、文學(xué)描寫、人物塑造等方面的作用，使讀者得以從另一個角度去重新審視凱瑟的小說創(chuàng)作與文學(xué)成就，給人以耳目一新的感覺。　　——李公昭教授 解放軍外國語學(xué)院博士生導(dǎo)師　　　　該書從文學(xué)印象主義的主體意識視角來系統(tǒng)地分析和評述凱瑟的四部作品，有較大的創(chuàng)新意義和學(xué)術(shù)價值。從該書對文學(xué)印象主義和敘事學(xué)等有關(guān)理論的運用上來看，作者閱讀了大量相關(guān)書籍和資料，有較好的理論素養(yǎng)，較強(qiáng)的學(xué)術(shù)功底和梳理文獻(xiàn)的能力。　　——何樹教授 南京國際關(guān)系學(xué)院博士生導(dǎo)師　　　　該書恰如其分地運用文學(xué)印象主義理論來分析凱瑟的小說理論及創(chuàng)作，對理論的闡述比較深入，對作品的分析客觀，資料翔實，論述有力，語言流暢，基本功扎實。該書在理論的運用和對作品的分析方面頗有新意和學(xué)術(shù)參考價值?！　　^德教授 山東大學(xué)外國語學(xué)院博士生導(dǎo)師

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