Abstract: Just like the German Romantic literature, the French comparative literature denied the universality of the old literature while conferring this universality on itself, and was therefore branded from its inception with the paradox of the universal-absolute. The crisis of the 1950s and 1960s made comparative literature draw heavily on structuralism, shift from the study of factual influences to the study of parallelism based on invariants, and from the study of vertical time to the study of horizontal space, but the paradox remained. Since the 1980s, a variety of new theories have emerged, and although none of them can fundamentally solve this continuous and permanent crisis, the reflection on paradoxes and crises has provided comparative literature with the possibility of reflecting from the outside and constructing a channel between cultures, and has therefore become the driving force behind the development of comparative literature.

Key words: French comparative literature, paradox, universality, absolute, crisis, alterity

摘要： 和德国浪漫主义文学一样,法国比较文学在否定旧文学之普遍性的同时又将这普遍性赋予了自身,因此自诞生之始就烙上了普遍性—绝对的悖论。20世纪五六十年代的危机之争让比较文学很大程度借鉴了结构主义,从事实影响研究转向了基于不变量的平行研究,从垂直的时间研究转向横向的空间研究,但悖论依然在。1980年代以来各种新理论迭出,虽然都无法从根本上解决这“持续和永久”的危机,但对悖论和危机的思考为比较文学提供了从外部反思、在文化间建构通道的可能,因此反而成为比较文学发展的动力。

关键词: 法国比较文学, 悖论, 普遍性, 绝对, 危机, 相异性