废墟上的救赎——唐·德里罗小说《地下世界》中的“垃圾美学”
|
摘要
本文主要通过分析唐·德里罗小说《地下世界》中的垃圾景观、垃圾填埋场以及垃圾地景艺术,研究指出垃圾理论家的垃圾填埋场设计和艺术家们的垃圾地景艺术对无用之物的再造蕴含了救赎启示思想,他们的垃圾再造是对历史的解构与重构。德里罗的垃圾书写,渗透着对历史的重构与艺术救赎的美学思想,暗合了本雅明对垃圾的历史和艺术的哲思,揭示出艺术家和思想家对人类历史发展的美学审视和批判之维。
Focusing on the exploration of garbage spectacle,landfills and scene art in Underworldby Don DeLillo,the paper expounds the inspiration of redemption to readers with waste theorists' building the landfills and artists' transforming the useless things into artworks.Their works are the metaphorical deconstruction and reconstruction of the history.DeLillo's writing about the trash conveys the aesthetic view on the reconstruction of history and redemption of art and is also a coincidence of Benjamin's philosophical idea on history and art,which reveals the artists' and great thinkers' aesthetic thinking and critical spirit about the historical development of human beings.
Focusing on the exploration of garbage spectacle,landfills and scene art in Underworldby Don DeLillo,the paper expounds the inspiration of redemption to readers with waste theorists' building the landfills and artists' transforming the useless things into artworks.Their works are the metaphorical deconstruction and reconstruction of the history.DeLillo's writing about the trash conveys the aesthetic view on the reconstruction of history and redemption of art and is also a coincidence of Benjamin's philosophical idea on history and art,which reveals the artists' and great thinkers' aesthetic thinking and critical spirit about the historical development of human beings.
引文
[1]Tony Tanner.Afterthoughts on Don DeLillo’s Underworld[J].Raritan:A Quarterly Review17,1998:63
[2]Todd McGowan.The Obsolescence of Mystery and the Accumulation of Waste in Don DeLillo’s Underworld[J].Critique Studies in Contemporary Fiction,2005(2):123,123
[3]T Nathan Moreau.Waste,Time and Film in Don DeLillo’s Underworld and David Foster Wallace’s Infinite Jest[D].Bates University,2017:1
[4]Huang,Hanyu.Trauma,Paranoia,and Ecological Fantasy in Don DeLillo’s Underworld:Toward a Psychoanalytic Ethics of Waste[J].Concentric Literary&Cultural Studies,2009(1):109
[5]本·海默尔.日常生活与文化研究理论[M].王志宏,译.北京:商务印书馆,2008:102
[6]让·波德里亚.消费社会[M].刘成富,全志刚,译.南京:南京大学出版社,2000:1,3
[7][8][9][10][11][12][13][15][16][17][22][24][25]唐·德里罗.地下世界[M].严忠志,译.南京:译林出版社,2013:855,101,183-184,297,294,295,295,295,184,72,64
[14][21]瓦尔特·本雅明.德国悲剧的起源[M].陈永国,译.北京:文化艺术出版社,2001:148,146
[18][19]居伊·德波.景观社会[M].王昭风,译.南京:南京大学出版社,2006:3,10,18-19
[20][23]阿莱达·阿斯曼.回忆空间:文化记忆的形式和变迁[M].潘璐,译.北京:北京大学出版社,2016:361,451
[26]瓦尔特·本雅明.机械复制时代的艺术作品[M].王才勇,译.北京:中国城市出版社,2002:7-8
[27]瓦尔特·本雅明.发达资本主义时代的抒情诗人[M].张旭东,魏文生,译.北京:三联书店,1992:38,99
[28][30]周启超,编.跨文化的文学理论研究(第4辑)[C].开封:河南大学出版社,2011:308,308
[29]Susan Handelman.Fragments of Redemption:Jewish Thought and Literary Theory in Benjamin,Scholem,and Levinas[M].Bloomington:Indiana University Press,1991:43
[31]Lukács,Georg.The Theory of the Novel,translated from German by Anna Bostock[M].Berlin:Press.Cassirer,1920:126
(1)Landscape painting有“地景艺术”和“大地艺术”两种译法,这里选取“地景艺术”一是因为本文参考的此小说中译本(严忠志译)选择这个译法,二是这一译法的含义更倾向于将艺术品当作景观的来理解,更加符合艺术救赎理念的传递。
[2]Todd McGowan.The Obsolescence of Mystery and the Accumulation of Waste in Don DeLillo’s Underworld[J].Critique Studies in Contemporary Fiction,2005(2):123,123
[3]T Nathan Moreau.Waste,Time and Film in Don DeLillo’s Underworld and David Foster Wallace’s Infinite Jest[D].Bates University,2017:1
[4]Huang,Hanyu.Trauma,Paranoia,and Ecological Fantasy in Don DeLillo’s Underworld:Toward a Psychoanalytic Ethics of Waste[J].Concentric Literary&Cultural Studies,2009(1):109
[5]本·海默尔.日常生活与文化研究理论[M].王志宏,译.北京:商务印书馆,2008:102
[6]让·波德里亚.消费社会[M].刘成富,全志刚,译.南京:南京大学出版社,2000:1,3
[7][8][9][10][11][12][13][15][16][17][22][24][25]唐·德里罗.地下世界[M].严忠志,译.南京:译林出版社,2013:855,101,183-184,297,294,295,295,295,184,72,64
[14][21]瓦尔特·本雅明.德国悲剧的起源[M].陈永国,译.北京:文化艺术出版社,2001:148,146
[18][19]居伊·德波.景观社会[M].王昭风,译.南京:南京大学出版社,2006:3,10,18-19
[20][23]阿莱达·阿斯曼.回忆空间:文化记忆的形式和变迁[M].潘璐,译.北京:北京大学出版社,2016:361,451
[26]瓦尔特·本雅明.机械复制时代的艺术作品[M].王才勇,译.北京:中国城市出版社,2002:7-8
[27]瓦尔特·本雅明.发达资本主义时代的抒情诗人[M].张旭东,魏文生,译.北京:三联书店,1992:38,99
[28][30]周启超,编.跨文化的文学理论研究(第4辑)[C].开封:河南大学出版社,2011:308,308
[29]Susan Handelman.Fragments of Redemption:Jewish Thought and Literary Theory in Benjamin,Scholem,and Levinas[M].Bloomington:Indiana University Press,1991:43
[31]Lukács,Georg.The Theory of the Novel,translated from German by Anna Bostock[M].Berlin:Press.Cassirer,1920:126
(1)Landscape painting有“地景艺术”和“大地艺术”两种译法,这里选取“地景艺术”一是因为本文参考的此小说中译本(严忠志译)选择这个译法,二是这一译法的含义更倾向于将艺术品当作景观的来理解,更加符合艺术救赎理念的传递。