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作为英国本土催生的唯一现代派运动“漩涡主义”的创立者,温德姆·刘易斯在英美现代主义文艺发展史上地位特殊,影响深远。但他在一战后的文艺创作和批评实践中,却与主流现代主义分道扬镳,成为其“敌人”。这一突变发人深思,引人入胜。本文拟梳理上世纪二三十年代刘易斯以“敌人”公众形象对当时主流现代主义作家作品进行无情批判的过程,特别是他与“斯泰因阵营”和“布鲁姆斯伯里小圈子”的恩怨,并从性格剖析、内外因结合说以及艺术家的使命这三个维度来探因这一“敌人”现象。这一现象业已积淀为一个文化符号,从中可以理解刘易斯研究何以会在20世纪末以来东山再起,也可以窥见现代主义文学的纷繁复杂性。
As the founder of the only modernist movement “Swirlism” born in the British mainland, Wyndham Lewis has a special and far-reaching impact in the history of British and American modernist literature and art. However, in his literary and artistic creation and criticism after World War I, he parted ways with mainstream modernism and became his “enemy ”. This mutation is thought-provoking and fascinating. This article intends to sort out the process of mercilessly criticizing the contemporary mainstream writers’ works by Lewis in the 1920s and 1930s with the public image of “the enemy.” In particular, he and Lewis, “Stein” and “ Small circle ”, and probe into the“ enemy ”phenomenon from the three dimensions of personality analysis, internal and external causes, and the mission of the artist. This phenomenon has been accumulated as a cultural symbol, from which we can understand why Lewis study will comeback in the late 20th century, but also the complexity of modernist literature.