A STUDY ON THE DISCOURSE OF "CLASSIC" IN ENGLISH LITERATURE FROM THE STANDOINT OF CULTURAL REPRESENTATIONS

今年，继“古今之争”的研究成果之后，重点放在荷马学者罗伯特·伍德（Robert Wood）身上，他在古典研究中发起了实证主义调查，希望我们能够揭示18世纪英国古典话语的形成方式。在伍德之前流行的经典论述以亚历山大·波普为代表，他的《荷马随笔》是基于天才荷马的观点，另一方面，伍德两次去了希腊，四处旅行，并在当地进行了观察。他的《荷马天才论》是一篇实证主义的论文，试图将荷马作品中描述的世界与他所观察到的现实世界联系起来。在这种情况下，“荷马的天才”等同于模仿自然的能力。但是，这种模仿的原则将不可避免地把荷马学者带到“口头传统”的实践中，这在当时的地区仍然存在。这种诗歌创作的集体实践反过来又产生了创新的见解，一方面打破了个人荷马天才的浪漫主义观念，并突出了“文本”的真实性及其起源的问题。十八世纪的经典话语最终导致了原意不可达和文本中介不可避免的问题。

This year, following the research results from the study of "the controversy of ancients and moderns, the focus has been put on the Homeric scholar, Robert Wood, who initiated a positivist investigation in the classical studies, in the hope that we may reveal the way in which the discourse of classics in the eighteenth-century England was formed. The discourse of classics which was prevalent prior to Wood had been that represented by Alexander Pope, whose An Essay on Homer is based on the idea of Homer the genius, Wood, on the other hand, went to Greece twice, traveling around and made observations on location. His Essay on the Genius of Homer is a positivist endeavor to identify the world described in the works of Homer with that of the actuality he observed. In this instance, "the genius of Homer" was tantamount to the ability to imitate nature. But, this principle of imitation would inevitably bring the Homeric scholars to the practice of "oral tradition, " which was still extant in those days in the region. This collective practice of poetic creation, in turn, gave rise to the innovative insights, which would break down the Romantic notion of the individual Homer the genius, on the one hand, and hrghlight the problematics of the authenticity of the "text" and its origins. The discourse of classic in the eighteenth century was ultimately to give rise to the problems of unattainability of the original meaning and the inevitability of the textual mediacy.