|
|
|
| The Multidimensional Construction of Bakhtin's Subject Theory Poetics |
| Gong Jushan, Chen Yuan |
| School of Literature, Journalism & Communication, South-Central Minzu University, Wuhan 430074, China |
|
|
|
|
Abstract Bakhtin believes that people do not need to establish a transcendental subject community for universal truth, and the differences between multiple single subjects and their related relationships are the positive factors for the value construction in the subject philosophy of literature and art. This concept of subject is fully reflected in his poetics theory and becomes the key to distinguishing Bakhtin’s poetics from other poetics. Firstly, the complete “subject” includes three closely related sequences—the writer’s subject, the text’s subject and the reader’s subject. Secondly, the subject in the literary field originates from the specific person in real life, and then is the person with aesthetic enthusiasm, so it is also the person with unique presence. From the perspective of genesis, Bakhtin constructed his subjective poetics framework from the three dimensions of subject fugue, subject fugue and subject empowerment. The so-called “giving shape” refers to the aesthetic construction process centered on the protagonist based on a certain world outlook and corresponding artistic position of the creative subject, which enables the author, the author’s image, the protagonist and their interrelationship to be organically generated and presented to the reader in a specific calling structure. Among them, “first sex author”, “second sex author”, the protagonist and their relationship are not only the concrete embodiment of the main form system of literary works, but also the complete reflection of the inherent requirements of literary creation. The so-called “subject fugue” is different from the polyphonic music style in the Baroque period, but refers to the inter subject and its formative mechanism with the writer as the core in the process of literary creation. In the practice of constructing Bakhtin’s poetics of subject theory, “subject fugue” mainly depends on the dynamic realization of concrete uniqueness and interactive outsideness, as well as the dual dialogue effect achieved accordingly. The subject empowerment in the vision of Bakhtin’s subjectivity poetics refers to the cooperative realization mechanism between the author’s subjective responsibility energy, the work’s noumenon art energy and the reader’s subjective understanding energy. According to Bakhtin’s interpretation logic, subject empowerment is prioritized as three aspects of the writer’s subject’s sense of responsibility, the goal of responsibility, and the efficacy of responsibility, as well as the subjective initiative effect accepted by readers. The complex dimensions in the construction of Bakhtin’s poetics of subjectivity and its cross complementary and integrated modern appearance are closely related to the turbulence of real life, cultural concepts and literary trends at that time, as well as to Bakhtin’s own world experience, academic thinking and innovative personality. In general, his subject theory poetics not only has the significance of criticizing the shortcomings of the times, but also has the value of overflowing the expectations of the times. It has no lack of inspiration for the construction of the discourse system and discipline system of the social and historical criticism paradigm with contemporary Chinese characteristics: firstly, Bakhtin’s subject theory poetics has expanded the cognitive threshold of subject theory; secondly, Bakhtin’s subjective poetics profoundly corrected the formalism myth; thirdly, Bakhtin’s poetics of subjectivity emphasizes the author’s sense of responsibility. Accordingly, Bakhtin’s poetics of subjectivity has acquired the theoretical character of modernity open to the future.
|
|
Received: 04 January 2022
|
|
|
|
1 苏］巴赫金： 《1970—1971年笔记》，见《巴赫金全集》第四卷，白春仁、晓河、潘月琴等译，石家庄：河北教育出版社，2009年，第444-474页。
2 苏］巴赫金： 《人文科学方法论》，见《巴赫金全集》第四卷，白春仁、晓河、潘月琴等译，石家庄：河北教育出版社，2009年，第427-443页。
3 苏］巴赫金： 《陀思妥耶夫斯基诗学问题》，见《巴赫金全集》第五卷，白春仁、顾亚铃译，石家庄：河北教育出版社，2009年，第1-357页。
4 苏］巴赫金： 《文本问题》，见《巴赫金全集》第四卷，白春仁、晓河、潘月琴等译，石家庄：河北教育出版社，2009年，第295-321页。
5 美］韦恩·布斯： 《小说修辞学》，华明、胡晓苏、周宪译，北京：北京大学出版社，1987年。
6 苏］巴赫金： 《审美活动中的作者与主人公》，见《巴赫金全集》第一卷，晓河、贾泽林、张杰等译，石家庄：河北教育出版社，2009年。
7 苏］巴赫金： 《论行为哲学》，见《巴赫金全集》第一卷，晓河、贾泽林、张杰等译，石家庄：河北教育出版社，2009年，第3-75页。
8 徐岱、龙玉霞： 《复调的生成——外位性思想与巴赫金的文化诗学》，《浙江大学学报（人文社会科学版）》2010年第4期，第152-158页。
9 苏］巴赫金： 《话语创作美学方法论问题》，见《巴赫金全集》第一卷，晓河、贾泽林、张杰等译，石家庄：河北教育出版社，2009年，第314-381页。
10 晓河： 《文本·作者·主人公——巴赫金叙述理论研究》，《文艺理论与批评》1995年第2期，第108-114页。
11 苏］巴赫金： 《陀思妥耶夫斯基—1961年》，见《巴赫金全集》第四卷，白春仁、晓河、潘月琴等译，石家庄：河北教育出版社，2009年，第366-380页。
12 苏］巴赫金： 《长篇小说的时间形式和时空体形式》，见《巴赫金全集》第三卷，白春仁、晓河译，石家庄：河北教育出版社，2009年。
13 苏］巴赫金： 《史诗与长篇小说》，见《巴赫金全集》第三卷，白春仁、晓河译，石家庄：河北教育出版社，2009年，第497-537页。
14 周启超： 《外位性与文学研究的人文化》，《浙江大学学报（人文社会科学版）》2020年第5期，第129-136页。
15 苏］巴赫金： 《艺术与责任》，见《巴赫金全集》第一卷，晓河、贾泽林、张杰等译，石家庄：河北教育出版社，2009年，第1-2页。
16 苏］巴赫金： 《文艺学中的形式方法》，见《巴赫金全集》第二卷，李辉凡、张捷、张杰等译，石家庄：河北教育出版社，2009年。
17 苏］巴赫金： 《答〈新世界〉编辑部问》，见《巴赫金全集》第四卷，白春仁、晓河、潘月琴等译，石家庄：河北教育出版社，2009年，第403-411页。
18 苏］巴赫金： 《生活话语与艺术话语》，见《巴赫金全集》第二卷，李辉凡、张捷、张杰等译，石家庄：河北教育出版社，2009年，第75-104页。
19 龚举善： 《巴赫金表述诗学的多维生成与效果期待》，《文学评论》2020年第5期，第31-38页。
20 苏］巴赫金： 《〈言语体裁问题〉相关笔记存稿》，见《巴赫金全集》第四卷，白春仁、晓河、潘月琴等译，石家庄：河北教育出版社，2009年，第185-268页。
21 苏］巴赫金： 《1961年笔记》，见《巴赫金全集》第四卷，白春仁、晓河、潘月琴等译，石家庄：河北教育出版社，2009年，第322-365页。 |
|
|
|
2023, Vol. 53 
