中国古代三大文学观局限分析  

Analysis of Limitations of the Three Major Ideas in Ancient Chinese Literary Theory

作　　者：吴炫[1] 

机构地区：[1]华东师范大学中文系,200126

出　　处：《文艺研究》2005年第1期38-46,共9页Literature & Art Studies

摘　　要：本文以否定主义文艺理论为依托 ,以当代问题意识 ,对中国古代的“言志说”、“载道说”、“缘情说”的局限进行了分析。作者指出 :由于“个体化理解”的缺乏 ,因此无论是“志”、“道”还是“情” ,都难以突出文学与非文学之“志”、“道”、“情”的区别 ;而“言”无论是指文学表达还是指“心物交融”以及“象” ,都难以突出作家创造与一般创造的区别、作家创造的程度差异等问题 ;对抗“理”的“情”之无力和“情理统一”的笼统 ,作家和文学人物对既定的“理”的依附 ,均使得“缘情”难以成为一个真正的文学性概念。Based on a negativistic framework and contemporary literary issues, this paper makes an analysis of the limitations of the three major ideas in ancient Chinese literary theory: the “spontaneous expression” of “the intellect, the moral and the emotional”. The author believes that, because of the lack of individualistic understanding, the three classic categories cannot give rise to a unique worldview in the writers’ experience and understanding, not to speak of making distinctions between “the intellect, the moral, and the emotional” in the literary field and those in the non- literary. Whether referring to “literary representation” or “merging of the mind and the thing” or “imagery,” “expression” as a critical category cannot spotlight the differences between literary creation and other creations or between differences in different writers’ creations. The emotional, which is directly opposed to the reasonable, is weak in making the “expression of the emotional” a real literary concept because “the unity of the emotional and the reasonable” is too general for writers to rely on the emotional.

关 键 词：作家 文学观 言志 “缘情” 个体化理解 文艺理论 当代 道说 否定主义 一般 

分 类 号：I206.2[文学—中国文学]