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題 名 | Blues Liberation=藍調解放 |
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作 者 | 李有成; | 書刊名 | 逢甲人文社會學報 |
卷 期 | 4 2002.05[民91.05] |
頁 次 | 頁253-274 |
分類號 | 874.2 |
關鍵詞 | 典範; 伊底帕斯式的家族鬥爭; 批評修正主義; 文化總體論; 總體系統; Paradigm; Oedipal struggle; Critical revisionism; Cultural totalities; Total system; |
語 文 | 英文(English) |
中文摘要 | 本文嘗試以非裔美國批評家裴克(Houston A. Baker, Jr.)的「世代嬗遞」觀念,討論美國黑人文學批評內部鬥爭的問題。這場內部鬥爭最早始於一九五0年代與六0年代早期的統合詩學。到了六0年代末期與七0年代早期,黑人美學取代了統合詩學。可是到了七0年代晚期,黑人美學霸權不再,重建詩學崛起,主宰了整個非裔美國文學的批評場景。這種伊底帕斯式的家族鬥爭正好可以勾勒過去半個世紀以來非裔美國文學批評的流變史,雖然江山代有才人出,但此家族鬥爭實則是孔恩(Thomas Kuhn)所謂的典範興替造成的結果。 裴克以「藍調解放」一辭描述非裔美國文學批評家如何藉批評鬥爭取得理論與方法上的自由。這樣的批評家正是他所謂的藍調批評家。本文除了探討裴克的藍調解放觀念之外,同時也有意釐清美國黑人文學批評斷代史背後的文化邏輯。本文同時借用傅柯(Michel Foucault)的文化總體論觀念以及詹明信(Fredric Jameson)的總體系統理論來說明此文化邏輯。 裴克楬櫫藍調解放,目的不在為非裔美國文學批評建立另一個典範。他的用意無非在於將非裔美國文學批評自任何宰制性論述─特別是狹隘的民族主義或不同形式的本質論─中解放出來。 |
英文摘要 | This paper offers a critical narrative of the theoretical struggles in African American literary theories based on Houston A. Baker Jr.’s concept of “generational shift” which in turn originates from Thomas Kuhn’s theory of paradigm. The narrative begins with “Integrationist Poetics” of the late fifties and early sixties, which was then replaced by the Black Aesthetic of the late sixties and early seventies. In the late seventies, the “Reconstructionist Poetics” emerged to dominate the African American critical scene, while the Black Aesthetic began to lose its theoretical hegemony. The narrative seems to suggest an oedipal struggle in which the previous generation of critics were forced out of the scene as the result of paradigm shift. In his attempt at critical revisionism, Baker suggests the term “blues liberation” to describe the process in which an African American literary critic engages in critical struggles to gain the freedom of action that promises him/her the manifold range of theoretical persuasions and investigative approaches. S/he is then a blues critic who, though bound by institutional world of discourse, is free “to hypothesize and respect meanings that have previously been ‘unthinkable.’” Apart from recognizing the strengths and weaknesses of Baker’s notion of blues liberation, this paper also explores the cultural logic upon which his project of periodizing African American literary criticism is based. Michel Foucault’s concept of “cultural totalities” and Fredric Jameson’s idea of “total system” are deployed to explain away Baker’s oversimplifying chronology of African American critical industries. Blues liberation does not aim at offering another paradigm in African American criticism. It involves a liberation from any dominant critical discourse, especially one which is informed by parochial nationalism or forms of essentialism. This is also a process in which a black critic is inspired to explore dimensions of African American expressive culture that has long been ignored or repressed. |
本系統中英文摘要資訊取自各篇刊載內容。