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首页> 外文学位 >The literary mystification: Diderot, Merimee, Hildesheimer (Germany, Denis Diderot, Prosper Merimee, Wolfgang Hildesheimer, France).
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The literary mystification: Diderot, Merimee, Hildesheimer (Germany, Denis Diderot, Prosper Merimee, Wolfgang Hildesheimer, France).

机译：文学上的神秘：狄德罗特，梅里米，希尔德斯海默（德国，丹尼斯·狄德罗特，Prosper Merimee，沃尔夫冈·希尔德斯海默，法国）。

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摘要

This study defines the specificity of the mystification as a literary form through readings of selected texts from the Enlightenment to the present. Unlike forgery, the literary mystification is an instrument of deception and enlightenment. To achieve its goal of provoking reflection, it must deceive, but also provide clues for its own unmasking. Thus a reader perceives the trick and joins the mystifier in understanding.; Chapter I takes as its starting point the coining of the French term "mystification" in the 1750s. It presents the mystification's origins as a social phenomenon and shows how its transformation into a critical, analytical practice resulted from its adoption by the philosophes. This chapter then defines the literary mystification, showing that it is a form with typical features.; Subsequent chapters examine how particular mystifications have responded to literary trends through formal imitation. Chapter II treats Diderot's Mystification in detail, also giving attention to La Religieuse, Les Deux amis de Bourbonne, and Est-il bon? est-il mechant?. These texts are inspired by deceptions which test to what point reality can be transformed before the "victim" detects the trick. Fictional representation of deceptive incidents, combined with overdetermined observance of the 18th-century convention of veracity, make these texts metadiscursive presentations of the mystification.; Merimee's Romantic-era mystifications, Le Theatre de Clara Gazul and La Guzla, form the subject of Chapter III. They are paradigmatic literary mystifications. Through irony and complex frames, Merimee draws critical attention to the contemporary fashion for "local color" and to the utopic Romantic conception of folk literature.; Chapter IV treats Hildesheimer's novel Marbot, received as an authentic biography although its subject is apocryphal. This chapter examines how Marbot's apparatus criticus undermines its own scholarly authority, drawing attention to a discomfort of the post-modern era, in which subjectivity is felt to-undermine even sophisticated research.; The mystification's relevance remains strong, as new examples of the form continue to be created. A powerful critical tool at the moment of writing, the mystification can also serve as a lens to examine literary history. If this study has succeeded, it has added a brief new chapter to that history.
机译：这项研究通过阅读从启蒙到现在的选定文本，将神秘化的特殊性定义为一种文学形式。与伪造不同，文学神秘化是欺骗和启发的工具。为了达到激发反射的目的，它必须欺骗，但也要为其掩盖自己提供线索。这样，读者就会领悟到了窍门，并加入了理解的谜团。第一章以1750年代法国术语“神秘化”的产生为起点。它把神秘化的起源介绍为一种社会现象，并展示了它如何被哲学家采纳而转化为批判性的分析性实践。然后，本章定义了文学的神秘性，表明它是一种具有典型特征的形式。随后的章节探讨了特定的神秘化如何通过形式上的模仿来应对文学趋势。第二章详细介绍了狄德罗的神秘化，同时也关注了La Religieuse，Les Deux amis de Bourbonne和Est-il bon？ est-il机械师？这些文本受欺骗的启发，这些欺骗测试了在“受害者”检测到欺骗之前，现实可以转变到什么程度。虚构的欺骗性陈述，再加上对18世纪真实性惯例的过分确定，使得这些文本成为迷惑性的元散列式表达。第三章的主题是梅里米（Merimee）浪漫主义时期的神秘故事-克拉拉·加祖尔剧院（Le Theater de Clara Gazul）和古拉（La Guzla）。它们是范式的文学迷思。通过具有讽刺意味和复杂的框架，梅里米（Merimee）特别关注当代时尚的“局部色彩”和对民间文学的浪漫主义观念的关注。第四章将希尔德斯海默的小说《马伯特》作为真实传记来接受，尽管其主题是伪经的。本章探讨了马伯特的仪器批评是如何破坏其自身的学术权威的，并引起人们对后现代时代的不适感的关注，在后现代时代，感觉到主体性甚至破坏了复杂的研究。随着继续创建表格的新示例，神秘性的相关性仍然很强。在撰写本文时，神秘化是一种功能强大的重要工具，它也可以作为考察文学史的一个镜头。如果这项研究成功，它将为这段历史增添新的简短篇章。

著录项

  • 作者

    Abramson, Julia Luisa.;

  • 作者单位

    Princeton University.;

  • 授予单位 Princeton University.;
  • 学科 Literature Romance.; Literature Germanic.; Literature Modern.
  • 学位 Ph.D.
  • 年度 1999
  • 页码 199 p.
  • 总页数 199
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界文学;世界文学;
  • 关键词

  • 入库时间 2022-08-17 11:48:00

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