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| 文章编号：1672-3104(2018)02-0159-07 |
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陀思妥耶夫斯基作品中的复调与现代性 |
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俞航 |
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（南京大学文学院，江苏南京，210023） |
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| 摘 要： 巴赫金认为，陀思妥耶夫斯基在作品中放弃了作者的权威话语，采用微型对话与大型对话构成的复调来表现思想冲突。同时，陀思妥耶夫斯基的作品在体裁上具有狂欢化的特征，表现了不同思想的碰撞与交流。作为艺术形式的革新，陀思妥耶夫斯基作品中的复调与19世纪俄国所经历的现代转型紧密相关。一方面，如果没有俄罗斯社会的现代转型，就没有陀思妥耶夫斯基对现代性的表现，他的作品很难呈现出如此强烈的对话意识；另一方面，陀思妥耶夫斯基对现代性过度追求理性与秩序的一面持批判态度，而复调中的对话意识所释放出的对平等、未完成性的追求又有效地解构了现代性对理性秩序的迷恋倾向。 |
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| 关键词： 陀思妥耶夫斯基；巴赫金；复调；现代性 |
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Polyphony and modernity in Dostoevsky’s works |
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YU Hang |
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（Department of Liberal Arts, Nanjing University, Nanjing 210023, China） |
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| Abstract: According to Bakhtin, Dostoevsky gives up the author’s authoritative discourse and employs instead polyphony constituted by micro-dialogue and macro-dialogue to express ideological conflicts. In the aspect of genre, Dostoevsky’s works possess the carnival feature, which expresses communication and conflicts of different thoughts. As a kind of artistic innovation, polyphony in Dostoevsky’s works is closely connected with the modern transformation in Russia in the 19th century. On the one hand, if there were no social modern transformation in Russia and no Dostoevsky’s imagination of modernity, there would not have been the strong dialogue consciousness in his works. On the other hand, Dostoevsky criticizes the excessive pursuit of rationality and order of modernity, and the pursuit of equality and unfinalizability released from polyphony effectively deconstructs the obsession of the rational order. |
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Key words: Dostoevsky; Bakhtin; polyphony; modernity |
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