弗莱的tropical criticism是什么?
这篇书评可能有关键情节透露
因为中译本翻译的是情感式批评,也不可能翻译成热带式批评,讨论课发现这个点很奇怪,就去查了一下,网上也没有讨论的(只有一个没有结论的帖子),所以自己查了书里面的相关论述,一家之言仅供参考
Trope n. tropical adj.
对trope的解释
剑桥:something such as an idea, phrase, or image that is often used in a particular artist's work, in a particular type of art, etc.
韦氏:a word, phrase, or image used in a new and different way in order to create an artistic effect
rhetoric第一层,是修辞的意思。trope第二层,是比喻的意思。metaphor隐喻第三层,它和metonymy转喻, synecdoche联想, irony反讽是同一级。
There are two types of value judgments, comparative and positive实证的. Criticism founded on comparative values falls into two main divisions, according to whether the work of art is regarded as a product or as a possession. The former develops biographical criticism, which relates the work of art primarily to the man who wrote it. The [21] latter we may call tropical criticism, and it is primarily concerned with the contemporary reader.
存在比较的和实证的两种价值判断。根据作品被视为一种生产物还是一种拥有物①,建立在比较价值的批评呈现为两个主要的维度。前者发展了传记式批评,这种批评主要把作品和作者联系起来②。后者可能被称为比喻式批评,主要考虑到当代读者。
①:这里指作者和作品的关系,作者生产出作品,还是说作品被作者所拥有。它们的隐微区别在于前者中,作者高于作品,后者作者的权力没那么大了
②:那个relate to能读出来一些作者的高傲,作者站在这里不动,是作品赶着上来贴
Tropical criticism deals comparatively with style and craftsmanship, with complexity of meaning and figurative assimilation. It tends to dislike and belittle the oratorical poets, and it can hardly deal at all with heroic personality.
比喻式批评比较地谈论了风格与工艺的问题,谈论了意义的复杂性和比喻的同化吸收③。它倾向于厌恶和轻视演说诗人④,也几乎无法处理主人公的个性问题⑤。
③:这里有谈到figurative assimulation,说明我们对tropical的理解是对的
④:一般我们说poet and orator,是诗人和演讲家,演讲家在这里指古代罗马公共演讲盛行的时候,那些擅长雄辩术和修辞学的政治家和法官们,因为它不是speaker,或者lecturer。所以说这里的诗人,我认为也是指古希腊罗马概念上的诗人。(按:为什么古希腊罗马的诗人不被接受呢?它没有谈论意义的复杂性,没有把比喻同化吸收吗?这是我暂时没想通的地方)
⑤:如果理解成主人公的个性,这是可以理解的,因为在上一选段中,比喻式批评的对立面是传记式批评,传记式批评相对更实在一些,是更能够表达主人公的个性的;且比喻式批评讨论style and craftsmanship, and complexity of meaning and figurative assimilation,这些东西是韦勒克意义上的“内”,主人公的个性则更“外”。如果理解成英雄的个性,似乎和上个分句中古希腊古罗马的诗人的文本内容相关,但我认为无法很好地用前文讲到的比喻式批评的特点来理解。
The social dialectics applied externally to criticism, then, are, within criticism, pseudo-dialectics, or false rhetoric. It remains to try to define the true dialectic of criticism. On this level the biographical critic becomes the historical critic. He develops from hero worship towards total and indiscriminate acceptance: there is nothing “in his field” that he is not prepared to read with interest. From a purely historical point of view, however, cultural phenomena are to be read in their own context without contemporary application. We study them as we do the stars, seeing their interrelationships but not approaching them. Hence historical criticism needs to be complemented by a corresponding activity growing out of tropical criticism.
以外部方式被用于批评的社会辩证法,却在批评里,被化为伪辩证法或错误的修辞法。我们仍需要尽可能地定义真正的批评的辩证法。在这个层面上,传记式批评成为历史的批评⑥。他⑦从主人公的崇拜到完全的、不加选择的接受:在“他的领域里”,没有任何东西是他不准备带着兴趣阅读的⑧。然而,从纯粹的历史的角度来看,文化现象应当被放在他们自己的语境中阅读,不带上当代的应用。我们研究它们一如我们观察星星,能看见他们的相互关系却无法靠近他们。因此,历史的批评应当被相对的行为所补充,这种行为从比喻式批评中发展而来⑨。
⑥:不是把历史作为批评对象,而是说,以历史为方法进行批评。
⑦:怎么突然出现一个He,应该是指批评家
⑧:就是说,他先是崇拜主人公,然后不加选择地阅读所有东西
⑨:我所理解的结论,也就是hence开头的最后一句,是把比喻式批评运用到历史的批评当中,提倡这种批评方法所面对的靶子,是“带着当代的有色眼镜去研究过去的事情”,也就是传记式批评可能产生的问题。某种程度上,它能够反思“一切历史都是当代史”的研究方法。