FREDRIC JAMESON: SPACE, LITERATURE AND CAPITALISM

詹姆逊:空间、文学与资本主义

PRIMARY TITLE: SPACE, LITERATURE AND CAPITALISM IN POETICS OF FREDRIC JAMESON: THE POLITICAL AESTHETICS OF TRANSCENDING THE CAVE

BY: 杨有庆 | TRANS: 章闻哲 | REV: 杜非

• ORIGINAL VERSION SEE: ACADEMIC JOURNAL OF CHINESE SCIENTIFIC TECHNOLOGY UNIVERSITY (VERSION OF SOCIAL SCIENCE ),ISSUE6,2015.

• SPECIAL DECLARATION: VIEWS INVOLVED IN THIS ARTICLE DO NOT REPRESENT THE STANCE OF US

• ABSTRACT: Jameson thinks that the capitalism is the most active factor of organizing the human experience and culture, its constant expansion makes people dominated gradually by the space on planes of psychological experience and culture of language. The literary works to certain extent presents such change of the psychological experience and culture of language and the crisis and contradiction of the capitalism as such. He relates the form of literature with the capitalism’s expansion and practice over the world from the historical dimension, connects three kinds of literary form ,means the novel,legend, and allegory,with the classical stage, imperial stage and globalized stage of the development of the capitalism, reveals the space crisis and the manifestation ,the transformation implied in the capitalism from the extreme vision of the politics.

摘 要：詹姆逊认为资本主义是组织人类经验和文化的最具有能动性的要素，它的不断扩张使人们在心理经验和语言文化上逐渐被空间范畴所支配。文学作品在一定程度上表征了这种心理经验和语言文化的变迁以及资本主义本身的危机与矛盾。他从历史的维度切入将文学形式与资本主义在全球的扩张实践联系起来，把小说、传奇与寓言等三种文类和资本主义发展的古典时期、帝国主义时代与全球化时代相互勾连，从政治的绝对视域出发揭示了隐含其中的资本主义的空间危机与表征及嬗变。

THE KEYPOITS: JAMESON ; SPACE; LITERARY CAPITALISM

后现代文化哲学的起源可从现代主义溯源而上，直至远古文化艺术的魅影映射，它同时也设问：如何看待它与中国特色社会主义的关系

The American theorist of “the new Marxism” Fredric Jameson thinks that , the problem of the “modernity”the most introduced and worshiped by the contemporary scholarly circle seems objective and rich in academic reason, but actually, it contains an imagination of the capitalist on problems of the whole society such as progress, modernization, and development of the industry,and the concept of ideology that set in advance, which “ generated from certain encounter of ideology. To him, the west modernity confines itself to a sort of concept of the dynastic history, namely to think that the history of the capitalism is the unique creation and progress in human history,and then put forward a sort of concept with superiority that “the west possesses things ,while any of others haven’t”, from which it makes an illusion of modernity. In other words, a kind of modern myth produced by the west country through an worship to the capitalistic history, whereby motivates other areas especially “the third world” to have a desire and behavior of catching up with the west modernity, and then involves themselves in the trap of the blind chasing more than embracing the modernity, and therefore, are not capable of perceiving the historical facts of being colonized by the capitalistic politic, economy and cultural order.

美国“新马克思主义”理论家弗雷德里克·詹姆逊认为，在当代学界备受推崇的“现代性”问题貌似客观且具有学理性，但实际上是一个蕴含着资产阶级对于整个社会的进步、现代化、工业发展等问题的想象和预设的意识形态概念，“它产生于某种意识形态的境遇”。在他看来，西方现代性通过将自身限定为一种断代史概念，即认为资本主义的历史是人类历史上独一无二的创举和进步，进而以一种“西方拥有其他任何人都没有的东西”的优越感制造了现代性幻觉。换言之，西方国家通过对资本主义历史的尊崇制造了一种现代性神话，藉此来使其他地区尤其是“第三世界”产生了追赶西方现代性的欲望和行为，陷入了盲目追赶甚与拥抱现代性的陷阱，从而对其被资本主义政治、经济与文化秩序殖民的历史现实无法察觉。

Hence, Jameson proposes to use word “capitalism” in place of the “modernity” which is in lack of association with history. His research of the history of capitalism uses the method of the Marxist economist Erneste Mandel from Belgium deduced in his work The Late Capitalism : dividing the development of the capitalism into three stages: the market capitalism in classical age, the monopolistic capitalism in imperialism age, and the transnational capitalism in globalized age. He discovers that, the realism, modernism, and post-modernism as a sort of logically distinguishing of the cultures, respectively respond to the market capitalism , monopolistic capitalism and the transnational capitalism in progress of the capitalism. In facing of the constant change and the more and more complicated and secret historical reality of the capitalism, in a frame of Marxism, Jameson sticks to which the politics“as an extreme vision of every reading and every expounding, do associating the aesthetic styles such as realism, modernism and post-modernism and so on, with the historical development of the capitalism, inspecting the relation of the politics and economy behind the culture”, trying best to “completely depict the complexity of the cultural text and the social practice in a way of none-restoration.” Jameson’s literary research covers the realism, modernism and the post-modernism, this article mainly to investigate his space analysis of the works of Balzac, Conrad and the third world literature, expounding how to transform the representation of form and one which featured by aesthetics,into the true historical existence, in a pattern of which connects aesthetics with politics.

因此，詹姆逊主张用“资本主义”来替换“现代性”这一缺乏历史关联性的术语。他对资本主义的历史研究采用了比利时马克思主义经济学家欧内斯特·曼德尔《晚期资本主义》对资本主义发展三阶段的划分：古典时代的市场资本主义、帝国主义时代的垄断资本主义以及全球化时代的跨国资本主义。他发现，文化上的现实主义、现代主义和后现代主义作为一种文化逻辑分别与资本主义发展过程中的市场资本主义、垄断资本主义、跨国资本主义等三个阶段一一对应。面对不断发展变化且越来越隐秘复杂的资本主义历史现实，詹姆逊在马克思主义框架内，坚持政治“作为一切阅读和一切阐释的绝对视域，将现实主义、现代主义、后现代主义等美学风格与资本主义的历史发展相联系，考察文化形式背后的政治、经济关联”，力图“使之能够以非还原的方式完整地图绘出文化文本与社会实践的复杂性。”詹姆逊的文学研究涵盖了现实主义、现代主义与后现代主义，本文主要考察他对巴尔扎克、康拉德作品与第三世界文学的空间分析，阐述其如何通过美学与政治结合的方式来“把关于形式和美学特性的陈述转换成真正的历史存在”。

1. THE REALISM: SUMMONING MECHANISM AND MANIFESTATION OF THE MAJORITY IN MARKET CAPITALISM

现实主义：市场资本主义的主体召唤机制与表征

Jameson thinks that, those which take the realism as reflection of the reality , separate the culture from its historical context on which it’s surviving and generating lie . The realism should be placed in the social reality of the development of the capitalism to carry out the historical interpretation. In the classical period of the capitalism, the mechanism of the market regarded money as its core value started to dominate in the social life, “ the power of objectifying” gradually destructed the traditional society that dominated by the system of the hierarchy of the feudalism, “ makes an emergence of the new concept of external reference in the experience of the language and culture ”. The realism in this detailed historical context: as a sort of cultural logic, not only is the cultural presentation of which “ as its object’s reality of none-sanctification, post-mythology, common sense, daily life, and secularity”, but also intensifies the “power of objectifying” of the capitalism in a new cultural form. To Jameson, “the novel is the end of the literary class” , by which the ancient romance is ended up. The realistic novel transforms the “tale”into the “displaying”,being distant from trite ideas by means of a newness of a certain unexpected ‘truth’ , and may have the routine as such strikingly appeared, and then take it as the way of which so far the readers use it to receive the event, psychology, experience, space and time , and so on.”

詹姆逊认为，那种把现实主义视为现实之反映的观点，是将文化与其赖以产生和存在的历史语境割裂了。现实主义应置于资本主义发展的社会现实中进行历史性阐释。在资本主义的古典时期，以金钱为核心价值的市场机制开始在社会生活中占据主导地位，“物化的力量”逐渐瓦解了以封建等级制主导的传统社会，“使语言和文化的经验中出现了新的关于外在的参照物的观念”。处在这一具体历史语境中的现实主义——作为一种文化逻辑——不但是“作为其对象的非神圣化的、后神话的、常识性的、日常的、世俗的现实” 的文化表征，而且以一种新的文化形式强化了资本主义这种“物化的力量”。在詹姆逊看来，“小说是文类的终结”，终结了古老的罗曼司。现实主义小说“将‘讲述’转变为‘展现’，依靠某种预想不到‘真实’的新颖性疏离陈腐，突出常规本身，把它作为读者迄今用以接受事件、心理、经验、空间和时间等概念的方法。”

So to speak, the novel as the sharpest weapon of the reality is just a progress not a form, in its “presentation” the traditional romance will be decoded secularizedly, so as to break its mystery, and make people firstly feel “the world of the true life as if it is for the first time to be generated , the genuine object of the “indication”: the new space expansion and the market equivalent value that can be quantified, the new time rhythm which can be measured, and the new world of object of the commercial system that is “ disillusioned”. The novel in its presentation changes the attitude of readers to the reality of capitalism by imperceptible osmosis,and constantly summons readers to be the new subject, makes “people whose life habit formed in other productive manners that now seems to be too old in fashion, could in the new world of the market capitalism be re-arranged effectively for the life and work’s sake.”

也就是说，小说作为现实主义最犀利的武器是一种过程而非形式，它在“展现”过程中对传统罗曼司进行世俗化解码，打破其神秘性，使人们感觉“仿佛第一次生产出那个真正的生活世界，那个真正的‘指称物’——新的可以量化的空间扩展和市场等值，新的可以衡量的时间节奏，新的世俗的‘不抱幻想的’商品制度的客体世界”。小说在展现的过程中潜移默化地改变读者对资本主义现实的态度，并不断地召唤读者成为新的主体，使“那些其生活习惯由现已古老的其他生产方式形成的人们，在市场资本主义的新世界里会为生活和工作而被有效地重新安排。”

北大的文学时空与后现代文化时空的交错形式之一颇有启示性，它实际上出示了一个问题，即北大文学坐标与文学生产在何种空间设定中

Jameson thinks that it’s just the novel, or so to speak that it is the realistic novel playing a role in the capitalistic revolution, at the same time, also showing that the realism is consistent with the new reality created by the capitalism and presented in the development of the capitalism as such during this period. He argues that , such uniformity is mainly reflected in which that in realistic novel , “ money is a kind of new historical experience, a new sort of social form, that generates a unique pressure and anxiety, brings about a new disaster and happiness”. in other words, money in realistic novels plays a vital role: it is not only the topic of the realistic novel in present stage of the market capitalism, but also be the origin of all the character relations and narrative form in the realistic novel in this period, makes the plot and narration of the realistic novel quite distinct from the former romance which goes beyond the secular world. To him, the novel by Balzac as a realistic paradigm, its “ object of desire” is just the money,and always presented as a pursuing spared no effort for a legacy,shelter, or the money.In analyzing the work of Balzac The old Girl,he finds that in narration, the final aim of contest , seems to be the unmarried old girl miss Comond, but actually the real“object of desire” behind it , is rather the shelter which belongs to the inheritor Gaulment. And Balzac’s stressing and description of the habitation , “ evokes the desire of occupation, the illusion with tender and affectionate feeling of the land as property, as if that is a figure of the utopian willing contented and tangible. ... a sort of utopia of family, in its court, passage, narrow road in the garden, the routine and cultivation and the convention of the family economy that can’t be sought in the daily life , be traced back in advance, casting an eternal circulation there: eating,strolling,selling, the formal refreshment, playing whist ,being ready for the everyday menu, exchanging the opinion with the loyal servant and the regular visitor, such fascinating figure is the “time of stillness”, such tender and affectionate imagination of the real estate, is the inner power makes the narration pushed forward, secretly reveals the desire for the wealth,and the battle and defeat between the tradition and the new reality of the capitalism concealed under it. In The old Lady, the residence of the titled miss Comond , is the first place of the story, everything here releases an ancient ,unchangeable flavour of the province, symbols the provincial noble life of the former capitalistic world. The speculative merchant Du Busquier in work as a representative of the vitality of the bourgeois, ultimately ,defeats the romantic poet Astana, and the exiled nobleman ,who is an officer, symbolizing the elegance of the aristocracy, marries miss Comond. This not only shows the power of the new industrial property, at the same time declaring publicly the formation of the main body of the capitalist,and the omnipresent objectifying,symbols the new market capitalism’s control of and the victory over the former capitalistic world, but also reveals the position of the land as a property ,this spacial image in the special stage of the development of the capitalism.（ to be continued)

詹姆逊认为这正是小说，或者说现实主义小说在资产阶级革命中发挥的作用，同时，也表明现实主义与这一时期的资本主义本身发展及其所创造的新现实是相统一的。他指出，这种统一主要体现在：现实主义小说中“金钱是一种新的历史经验，一种新的社会形式，它产生了一种独特的压力和焦虑，引出了新的灾难和欢乐”。换言之，金钱在现实主义小说中具有至关重要的作用：它不仅作为市场资本主义阶段现实主义小说的主题，而且作为这一时期现实主义小说中所有人物关系和叙事形式的来源，使得现实主义小说与之前罗曼司的超世俗的情节和叙事截然不同。在他看来，作为现实主义典范的巴尔扎克小说其“欲望客体”就是金钱，在作品中往往体现为一笔遗产、住所或者对金钱的不遗余力的追求。他分析了巴尔扎克的作品《老姑娘》，发现在作品叙事中争夺的最终目的，表面看起来是未出嫁的老姑娘科蒙小姐，但其背后的真实“欲望客体”却是她作为继承人所拥有的高尔芒家的住所。而巴尔扎克对住所的描写和强调，“唤醒了占有的欲望，唤醒了对土地财产的温情脉脉的幻想，仿佛那是一个可以感触到的乌托邦愿望满足的形象似的。……一种家庭的乌托邦，在它的院落、走廊和花园小路上，日常生活无法追忆的常规以及耕作和家庭经济的惯例被事先追溯，投射出那种永恒的循环：吃饭、散步，销售，正式茶点，打惠斯特牌，准备每日的菜单，与忠实的仆人和经常的来访者交换意见——这种令人入迷的形象是‘静止的时刻’”。这种温情脉脉的对地产的想象，是叙述得以推进的内在力量，隐秘地揭示了对财富的欲望以及掩藏在其下的传统与资本主义新现实的斗争和溃败。在《老姑娘》中，有头衔的老姑娘科蒙小姐的住所，是故事发生的主要场所。这里一切都散发出古老的、不可改变的外省气息，象征着前资本主义世界的外省贵族生活。在作品中，投机商人杜·布斯基埃所代表的资产阶级的活力，最终打败了浪漫主义诗人阿塔纳斯和身无分文的流亡贵族军官象征的贵族的优雅，娶科蒙小姐为妻。这不仅显示了新的工业财富的力量，同时昭示着资产阶级主体的形成和物化的无所不在，象征着新兴的市场资本主义对前资本主义世界的胜利和控制，也揭示了作为财富的土地这一空间意象在资本主义发展这一特定历史阶段的位置。（待续）返回搜狐，查看更多

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