别林斯基的中国面孔——当代文论教科书的三个重要概念  

The Variation of V.G.Belinsky’s Theory in China: Three important concepts in Chinese textbooks of contemporary literary theories

作　　者：代迅[1] 陈谊 DAI Xun;CHEN Yi(Chinese Department,Xiamen University,Xiamen 361005, China)

机构地区：[1]厦门大学中文系

出　　处：《北京师范大学学报（社会科学版）》2019年第4期56-68,共13页Journal of Beijing Normal University(Social Sciences)

基　　金：国家社会科学基金重大项目“二十世纪域外文论的本土化研究”(12&ZD166)

摘　　要：别林斯基以其"准马列"的崇高地位和对俄国文论的杰出贡献,对20世纪50年代至80年代初期产生和定型的中国当代文论教科书发挥了重要影响。中国当代文论教科书并未囿于别林斯基,而是根据当代中国学术语境,选择了别林斯基的若干理论概念并进行了大幅度改写,其中某些观点既不符合文艺创作现实,也有悖于别林斯基的本意。"写本质论"成为当代中国文艺创作公式化、概念化的一个重要理论根源。国产的"形象思维论"实质就是想象但删除了想象中的创新性内涵。别林斯基围绕民族性轴心的"人民性"概念被我们转换为阶级性内涵。中国当代文论教科书中展示的别林斯基乃是其中国面孔。Vissarion Grigoryevich Belinsky won the outstanding status for his thoughts taken as "quasi-Marxism-Leninism", made a great contribution to Russian literary theories, and exerted a prominent influence on Chinese textbooks of contemporary literary theories from the 1950s to the early 1980s. Chinese textbook compilers do not confine themselves to Belinsky's theory, but select and rewrite several theoretical concepts to fit into the academic context of contemporary China, some of which fail to fit into the actual situation of literary creation, and appear contrary to Belinsky's original thoughts."Writing essence" has become an important theoretical source of stylization and conceptualization in contemporary Chinese literary creation. The essence of the "thinking in images" theory that emerged in China is the imagination being removed of the creative connotation. Belinsky's "national character" focusing on nationhood is transformed into the connotation of social classes and his theory has been illustrated in variation in the Chinese textbooks of contemporary literary theories.

关 键 词：别林斯基 当代文论教科书 写本质 形象思维 人民性 俄苏文论 西方文论 

分 类 号：I0[文学—文学理论]