解释学文论与当代中国文论建设  

An Interpretative Literary Theory and Current Development of Literary Theory in China

作　　者：张玉能[1] 张弓[2] 

机构地区：[1]华中师范大学文学院,湖北武汉430079 [2]华东政法大学人文学院,上海201620

出　　处：《陕西师范大学学报（哲学社会科学版）》2009年第1期53-59,共7页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：教育部人文社会科学研究基金资助项目(06JA75011-44015)

摘　　要：伽达默尔之所以用游戏、象征、节日、语言来界定艺术,是本体论美学的语言游戏论对认识论美学的形式的主观合目的论的批判,实质上是要消解所谓人类中心论和主体性观念,以说明它们的非主体性和无目的性。主动性和受动性、合规律性与合目的性在以物质生产为中心的社会实践中本来就是辩证统一的,而且惟有它们的辩证统一才使社会实践达到了自由的高度,从而使整个社会实践(物质生产、精神生产、话语实践)带有了审美性质或审美因素,并且在精神生产中生成出一种纯粹的审美活动及其结晶——美和艺术。在建构中国特色当代文论的过程中,我们应该坚持新实践美学的文论,辩证地揭示美、审美和艺术的合规律性与合目的性的统一,即自由,走向自由的个体和多维的主体性全面发展的人,以精神生产和话语生产的自由实践论取代语言游戏论。Subjectivity and objectivity, regularity and purposefulness are dialectical and integrate in human social practice centered by material production, which makes social practice ascend to the height of freedom. It also adds aesthetic character and factors to varieties of social practice, including material production, spiritual production, and speech practice, and generates a pure aesthetic activity and its crystallization beauty and art. Thus, we should stick to the practice-aesthetics-based literary theory in our effort to develop a contemporary China-characteristic literary theory to reveal the integrity between beauty and appreciation of beauty and between artistic regularity and purposefulness and gradually substitute the view of language game with a view of free practice in spiritual and speech production.

关 键 词：解释学文论 当代中国文论 语言游戏论 辩证法 自由实践论 

分 类 号：I01[文学—文学理论]