古典批评文体的现代复活--以三位京派批评家为例  

The Modern Revival of the Style of Classical Literary Criticism:An Analysis of Three Critics of Beijing School

作　　者：李建中[1] 

机构地区：[1]中南民族大学文学院特聘首席教授,武汉430074

出　　处：《中山大学学报（社会科学版）》2008年第1期32-38,共7页Journal of Sun Yat-sen University(Social Science Edition)

基　　金：教育部人文社会科学项目《中国文论之批评文体研究》(批准号07JA751004)

摘　　要：该文以三位京派批评家(李长之、沈从文和李健吾)在20世纪三、四十年代的文学批评实绩为例,探讨中国古代文论的批评文体能否以及如何"活"在现代,"活"在当下。李长之标举"传记体批评",沈从文选择"印象式批评",李健吾践行"随笔式批评",表面上是模拟式地学习现代西方的文学批评方法,实质上是创造性地承续古代中国的文学批评文体,他们的"西就"之路实为"东归"之途。三位批评家在中与西、古与今之间的游走,对于我们重新认识中国古代文论的出路和走向有着重要启示意义和典范价值。This paper attempts to explore how the style of Chinese ancient literary criticism can exist in modern China by analyzing the tangible achievements of three critics of Beijing School in the 1930s and 1940s,namely Li Changzhi,Shen Congwen,and Li Jianwu.The biographical criticism of Li Changzhi,the impressionistic criticism of Shen Congwen,and the prosaic criticism of Li Jianwu all adopted the mode of modern Western literary criticism.However,their criticisms were the creative successions of the style of Chinese ancient literary criticism in essence.Therefore,the adoption of the Western methods was actually the return to the Chinese tradition.These three critics,by blending the Chinese and the Western,the ancient and the modern,provided great enlightening significance and valuable examples for studies on the future of Chinese ancient literary criticism.

关 键 词：批评文体 传记体 印象式 随笔体 

分 类 号：I206.09[文学—中国文学]