A Wilderness of Size: Steven Millhauser's "Martin Dressler"
A Wilderness of Size: Steven Millhauser's "Martin Dressler"
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规模的荒野：史蒂文·米尔豪瑟的“马丁·德莱斯勒”
DOI：
10.2307/1208997
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发表时间：
2001
期刊：
影响因子：
--
通讯作者：
Steven Millhauser
中科院分区：
文献类型：
--
作者：
A. Saltzman;Steven Millhauser
当谈到崇高时，最生动的解释充其量是恳求。无畏的比喻哄骗，但不能捕捉，和最高级的目标，他们仍然可耻地脱离他们。崇高的传统定义尊重其主体的纯粹的移动。正如约翰·杰维斯（John Jervis）所总结的那样，无论某位作家对变态的接近性的欣赏或主张多么慷慨激昂，围绕着崇高的不可侵犯的分离性的光环仍然完好无损（194）。因此，在某种意义上，自我必须欺骗自己，以参与超越人类的东西。这种状态激发了矛盾的冲动：快乐中带着怀疑，着迷中带着恐惧。将这种模糊的纹理进行文本化，是对无法封闭的东西的尊重，是对无法呈现的东西的尊重。约翰·厄普代克在承认这一点时，建议他的同时代人遵守“对存在的一种胆怯的敬畏”，并在我们周围环境的剩余价值面前屈服（“准确性”17）。约瑟夫·塔比（Joseph Tabbi）在《后现代崇高》（The Postmodern Sublime）中提出了一个类似的观点，他宣称“任何新力量的代表都必须包含和排除代表它们的人的思想”，使自我的投射充其量是“堂吉诃德式的”（2，3）。
{W ~ * hen it comes to the sublime, the most vivid depictions are entreaties at best. Intrepid metaphors coax but cannot capture, and the superlatives they aim at remain scandalously detached from them. Traditional definitions of the sublime respect its subject's pure remove. As John Jervis concludes, however impassioned a given writer's appreciation or claims of metamorphic proximity, the aura of inviolable separateness that surrounds the sublime remains intact (194). Thus the ego must in some sense delude itself to participate in what transcends the human. This condition inspires contradictory impulses: pleasure is tinged with suspicion, enchantment with terror. Textualizing such vague textures honors what cannot be enclosed, esteems what cannot be presented. In acknowledging this, John Updike counsels his contemporaries to abide by a "kind of timid reverence toward what exists" and to yield before the surplus value of our surroundings ("Accuracy" 17). Joseph Tabbi makes a comparable point in The Postmodern Sublime when he declares that "any representation of the new forces must both contain and exclude the mind of the person representing them," rendering the self's projections "quixotic" at best (2, 3).