欢迎访问《文艺理论研究》，
文艺理论研究

文艺理论研究 ›› 2022, Vol. 42 ›› Issue (4): 162-171.

• 西方文论与美学研究 • 上一篇    下一篇

元现代主义：“后现代之后”的文论之思

王洪岳   

  1. 浙江师范大学人文学院

  • 出版日期:2022-08-25 发布日期:2022-08-26
  • 作者简介:王洪岳，文学博士，浙江师范大学人文学院教授，江南文化研究中心研究员，主要从事西方文论和美学研究。
  • 基金资助:

    本文系国家社科基金后期资助项目“元现代文论研究”[项目编号:19FZWB039]的阶段性成果。

Metamodernism: Thoughts on Literary Theory “after Postmodernism”

Wang Hongyue   

  1. Center for Jiangnan Culture Studies, Zhejiang Normal University

  • Online:2022-08-25 Published:2022-08-26
  • About author:Wang Hongyue, Ph.D., is a professor at the College of Humanities and a researcher at the Center for Jiangnan Culture Studies, Zhejiang Normal University. His research interests include Western literary theory and aesthetics.
  • Supported by:

    This article is supported by the National Social Sciences Foundation Post-funded Project (19FZWB039).

PDF (PC)

107

摘要：

自20世纪90年代中期，西方文论就进入了“后现代之后”的发展阶段，但是学界一直没有恰切的概念和理论来对此加以表述，直到“元现代主义”出现。元现代主义是因应当代千禧年前后新的文化艺术和感性结构的重大变化而出现的一种新的文论话语，它试图在现代主义的担当精神和后现代主义的洒脱游戏之间探寻一种文化和文论发展的新路，其话语表达的主要策略是“非托邦的中位”，从认识论上来说“带着”现代和后现代的印迹，从本体论上来说“介于”现代和后现代“之间”，而从历史角度来说又在现代与后现代“之后”。环境设计师以“绿图”替代“蓝图”，新生代文学家和艺术家也日渐抛弃解构、并置和拼贴等美学观念，转而青睐重构、神话和中位等美学/伦理学（aesth/ethical）范畴。这些趋势和潮流表达了一种（通常伴有谨慎的）希望和（时常是伪装的）真诚，体现出一种深具包容性和在两极之间摇摆的感性结构。

关键词:

"> 元现代；元现代主义；后现代之后；非托邦中位；文论话语

Abstract:

Since the mid-1990s, Western literary theory has entered a “post-postmodern” stage, but there has been no proper concept or theory to express it in the academic world until the emergence of “metamodernism”. Metamodernism is a new discourse of literary theory in the new millennium that emerges out of the major change in the structure of culture and art as well as perception. It attempts to explore a new path for culture and literary theory between modernism and postmodernism, and its main strategy of discursive expression is “a-topic metaxis”. Epistemologically, it is “with” modern and postmodern imprint; ontologically, it is “between” the modern and postmodern; historically, it is “after” the modern and postmodern. Environmental designers replace “blueprints” with “greenprints”, and the new generation of writers and artists are gradually abandoning the aesthetic concepts of deconstruction, juxtaposition, and pastiche, turning to the aesth/ethical categories of reconstruction, myth, and metaxis. These trends express a (often cautious) sense of hope and (often disguised) sincerity, and embody a deeply inclusive and polarizing perceptual structure.

Key words:

metamodern, metamodernism, after postmodernism, a-topic metaxis, discourse of literary theory