失败的小说:审美张力空间的匮乏  

Failure of the Novel:Shortage of Aesthetic Tension Space

作　　者：朱兵[1] 马正平[2] 

机构地区：[1]西北师范大学文史学院,甘肃兰州730070 [2]四川师范大学文学院,四川成都610068

出　　处：《青海师范大学学报（哲学社会科学版）》2010年第6期17-21,共5页Journal of Qinghai Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社会科学基金"时空美学基本原理研究"(08XZX017)的相关成果

摘　　要：杰出的小说总是移情卷入和超然审视的对立一体,是人道视野与天道眼光的矛盾统一,因而具有深广的审美张力空间,内含着耐人回味的审美意蕴。古典形态的小说,其失败主要是因为偏重于移情而缺乏超然审视;现代形态的小说,其失败主要是因为偏重于超然审视而缺乏移情观照;我国现当代文学的失败之作,则主要是因为过度移情于时代,毫无超然反观的轻灵。因此,它们都匮乏深广的审美张力空间。Outstanding fictions are always the unification of the empathy and the detached attitude,so always has a broad and deep aesthetic tension space and always contain meaningful aesthetic means.The classical fiction was failed mainly because of the emphasis on empathy and the lack of detached attitude.The failure of the modern fiction,was due largely to lay particular stress on detached attitude and be short of the empathy.The failure of the current and the contemporary literature in China,was mainly because of excessive empathy at times.Therefore,they all want broad and deep aesthetic tension space.

关 键 词：小说 匮乏 审美张力空间 

分 类 号：B83[哲学宗教—美学]