“接受反应”视域下诗歌接受理论的迁演  

The Evolution Process of Poetic Reception Theory from the Perspective of “Receptive Response”

作　　者：陈仲义 

机构地区：[1]厦门城市大学人文学部,福建厦门361004

出　　处：《南京理工大学学报（社会科学版）》2017年第1期31-39,共9页Journal of Nanjing University of Science and Technology：Social Sciences

基　　金：国家社科基金后期资助<诗歌审美接受研究>(FZW005)阶段性成果

摘　　要：西方接受美学与读者反应理论,形成了以姚斯、伊瑟尔、费什为"支点"的接受线路,他们提供的"期待视野""召唤结构""未定性""阐释共同体"等打开了新的接受天窗。中国古典文论则潜伏着"以意逆志"、"诗无达诂"、"以味辨诗"的散发型接受路经。双方在平行或汇通的旅程中各擅胜场。在此宏大话语背景下,诗歌的接受学实践也出现了诸如"兴发感动"的合一模式和"诗感"说。那么,我们能否转换一下视角,从此前被"作者中心"牵引、被"文本中心"固化的轨道上走出来,从容面对更为复杂、辽阔、也更为微妙的现代诗接受新景观?Western receptive aesthetics and reader response theory form a reception line connected through “nodes” like Jauss, Iser, and Fish, who open a new reception dormer with “expectation horizon”,“appealing structure” ,“ uncertainty” ,winterpre-tative community, and so on. Chinese classic theory embodies a divergent reception path with its “understanding by heart”, “incomplete poetic interpretation” and “sensational interpretation”. Each school has its own dominance with occasional parallel or converging evolution process. Against this macro academic background, there arise many new principles such as integrated “ sensational evoking” and “ poetic sensation” in poetic reception aesthetic practice. The question thus arises as to if there can be a shift from fossHized “author orientation” and “text orientation” to a more subtle modern poetic receptive view.

关 键 词：现代诗研究 接受美学 读者反应 “以意逆志” “诗无达诂” “以味辨诗” “兴发感动” “诗感” 

分 类 号：I052[文学—文学理论]