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作 者:杨经建[1] 王蕾[1] Yang Jingjian;Wang Lei
机构地区:[1]湖南师范大学文学院
出 处:《社会科学》2018年第8期160-166,共7页Journal of Social Sciences
基 金:国家社科基金项目"20世纪中国文学的母语化进程研究"(项目批准号:15BZW149)的阶段性成果
摘 要:京派批评的独特之处是对母语思维智慧的创造性运用,表现在文学批评话语上即为"感悟诗学"。感悟诗学是一种将批评个体的直觉印象、审美体验与突出母语文学语境中的语言功能融汇起来的批评范型,或,一种在特定语境中阐释文本语言并由此显示其感兴蕴藉的文论方式。京派批评家中最能体现感悟诗学要义的是李健吾。李健吾的批评被称为印象鉴赏式,他以母语悟性思维为运思前提,强调现代批评意识,其艺术直觉与审美体验形成了一种智性的圆融和综合。The unique feature of criticism of Beijing School lies in the creative application of the wisdom of native language thinking and perceptual poetics in literary criticism. Perceptive poetics is a critical paradigm that focuses on criticizing individuals' intuitionistic impressions and aesthetic experience and highlighting linguistic functions in the context of mother tongue literature, or a literature review model that interprets textual language in specific contexts and presents personal feelings and understandings. Among the critics of Beijing School, Li Jianwu is the one who can best understand the essence of perceptive poetics. Li Jianwu's criticism is summarized as impression appreciation style. On the premise of native language perceptive thinking, he emphasized modern critical consciousness, and his artistic intuition and aesthetic experience formed a kind of intellectual harmony and integration.
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