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勃兰兑斯(G·M·C·Brandes,1842—1927)比泰纳稍后,他的代表作《十九世纪文学主流》完成于1872—1890年之间,比泰纳的《英国文学史》及《艺术哲学》。约晚出十多年。勃兰兑斯出版于1867年的《美学研究》表明他原是个形式主义者,但1870年前后旅欧期间与泰纳的接触,使之从抽象思辨转向实证主义,并撰博士论文《当代法国美学》,传播实证主义原则。在《十九世纪文学主流》第二册的扉页上,赫然写着“献给伊波利特·泰纳先生。”甚至在具体的语言表述上,都可以嗅出泰纳的气味:“文学评论家对一个时期的文学典型逐一加以研究,在某种程度上很象科学家在不同的动物品种中通过对形变的研究考察某种生理结构的演变。”凡此种种均足以表明勃兰兑斯是泰纳的弟子。但另一方面,勃兰兑斯不是一个平庸的无创造性的弟子,他对泰纳的超越在文学史社会学的发展上具有重要地位。
Shortly after Bill Tyne, GCM Brandes (1842-1927), his masterpiece “The Mainstream of Literature in the 19th Century,” was completed between 1872 and 1890. Bentner’s “History of English Literature ”And“ Art Philosophy. ” About late ten years. Brandeis’ aesthetic study, published in 1867, showed that he was a formalist, but his contacts with Taina during his travels to Europe around 1870 turned it from abstract speculation to positivism and wrote doctoral dissertation The Contemporary French Aesthetics “, spreading the principle of positivism. On the front page of Volume II of the ”Mainstream of the 19th Century Literature,“ it is impressively pronounced ”Dedicated to Mr. Hippolyte Taina.“ Even Taina’s smell can be sniffed out in specific linguistic expressions: ”The Literary Criticism The family studies the literary patterns of a period of time one by one and to some extent resembles the evolution of a certain physiological structure by scientists in different species of animals through the study of deformation. "All of these are sufficient to show that Braunschweig Tyner’s disciple. However, on the other hand, Brandon was not a mediocre creative student. His transcendence of Taina played an important role in the sociology of literary history.