苏珊·桑塔格在1960年代提出了以“反对阐释”为核心的形式美学文艺批评观。她秉承了以王尔德为代表的唯美主义倾向，反拨当时在批评界占统治地位的社会批判和精神分析的挖掘式阐释手段，呼吁在文艺批评中从理性探索回归感性领悟，重视文艺作品本身的形式和鉴赏愉悦。本文就桑塔格1960年代的重要论著归结了她的批评思想中的几对矛盾，即：以“反对阐释”和“静默之美学”为代表的文艺形式与内容之争；以“坎普感受力”为代表的新感受力与高级文化之争；以色情文学为论述对象的快感与道德之争。1960年代之后，随着社会文化语境的变迁，桑塔格对其“反对阐释”的形式美学思想进行了反思和重估，开始强调道德意义在文艺批评中不可或缺的位置。笔者在结语中总结了桑塔格作为现代主义后期文化特征的追随者和前期后现代主义先行者的双重身份。%Writing in the 1960 s, Susan Sontag formulated her critical standpoint on literary interpretation .In her seminal essay “Against Interpreta-tion”, Sontag attacks the dominant practice of treating literary texts as sites of social critique as well as psychoanalytic allegory and calls for a return to the sensual pleasures of interpretation that focuses on the formalist aspects of liter-ature together with the pleasure of reading .Proceeding from her writings in the 1960s, this article aims to address the major divisions in Sontag ’s critical theory, namely, the form-content division as represented by her theory of reading “against interpretation” and of “aesthetics of silence”, the division between the new sensibilities of “camp” and high-browed intellectual capaci-ties, and the division between moralist and sensualist readings of erotica .The article also deals with Sontag ’ s revision and re-evaluation of her formalist thought on anti-interpretation in the decades following the 1960 s as well as her emphasis on the necessary role of morality in literary and art criticism . The final part of the article provides a scrutiny of Sontag ’ s dual role as an ad-vocate of late modernism and a pioneer of pre-postmodernism .
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