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Erich Auerbach, (born Nov. 9, 1892, Berlin, Ger.—died Oct. 13, 1957, Wallingford, Conn., U.S.), educator and scholar of Romance literatures and languages.
After gaining a doctorate in philology at the University of Greifswald, Germany, in 1921, Auerbach served as librarian for the Prussian State Library. From 1929 until his dismissal by the Nazi Party in 1936, he was ordinarius university professor of Romance philology at the University of Marburg. From 1936 to 1947 Auerbach taught at the Turkish State University in Istanbul, where he wrote his magisterial survey of the linguistic means of depicting reality in European literature, Mimesis: Dargestellte Wirklichkeit in der abendländischen Literatur (1946; Mimesis: The Representation of Reality in Western Literature). He joined the faculty at Yale University in 1947, becoming Sterling professor of Romance philology in 1956. In 1949–50 he was a member of the Institute for Advanced Study at Princeton, N.J.
Although Auerbach wrote a number of important scholarly studies, including Dante als Dichter der irdischen Welt (1929; Dante, Poet of the Secular World) and Literatursprache und Publikum in der lateinischen Spätantike und im Mittelalter (1958; Literary Language and Its Public in Late Latin Antiquity and in the Middle Ages), his foremost work of literary criticism was Mimesis. This book not only offered philological and historical examinations of individual literary works, from the Hebrew Bible and Homer to Virginia Woolf and Marcel Proust, but also established an influential critical method, offering a history of culture through the close analyses of literary styles.
- 文学理论
- Auerbach
- 奥尔巴赫
- 比较文学
- literature
- 文艺理论
- 比較文學
- 德国
A half-century after its translation into English, Erich Auerbach's "Mimesis" still stands as a monumental achievement in literary criticism. A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics. A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There, he wrote "Mimesis", publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how, from antiquity to the twentieth century, literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive - and impassioned - response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.
具体描述
读后感
《摹仿论》出版于1946，作者是埃里希·奥尔巴赫（Erich Auerbach）。原著是德文，1953年出版了英译本，普林斯顿大学2003年的版本，是纪念英译本发行50年的纪念版。该纪念版的前言是爱德华·萨义德写的，给予了《摹仿论》一书相当高的评价：：“Books of criticism have usually...
评分 评分 评分笨重朴实的文本分析的典范，没想到自己能啃完。 古典的文体分用原则和犹太基督教的文体混用原则，德国式思辨气息浓厚的正反题。但奥尔巴赫对文体的选取绝不是像他自己说的那样信手拈来。 迄今最好的西方文学史。欧洲文学的最高峰在19世纪现实主义，拉丁文学中心主义者，司汤达...
评分用户评价
读之前先读奥氏Philologie der Weltliteratur一文，会更理解他在Mimesis一文中所用的方法，即从一个小的Handhabe（抓手）出发，对所想研究的大问题做一个ausstrahlen即穿透，举例是想做神曲的接受，不如做神曲某一段落在不同时代的不同解读。总的方法论上非常有指导意义。落到实践，以seperation of styles和基督教figural的现实观，去洞穿西方文学发展中的不断变化。今人再看Mimesis，大概会诧异于他对现实这一概念的定义：感官的，有问题的，变化的，但正如奥氏对自己所做的辩解那样，我们编织历史的方式都是导向我们自身。结合卢卡齐和Bloch现实主义之争也颇有益处。
评分怀旧之书。
评分我看得抓耳挠腮，后来一交流，组里的希腊妹子和爱尔兰妹子也跳着脚喊bullshit……不是我英语差，是A师太高深
评分理论书都读到流泪，他就是奥德赛
评分本来我是不敢读这种文艺理论的书的，当时是出于对但丁《神曲》的一时兴趣而误打误撞上的，内容并不艰涩反倒十分有趣，对于读西方文学，特别是我理解但丁很有帮助。
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