古代小说批评尚“幻”的艺术虚构论衍变  

Evolution of Fiction Theory on“Illusion”in Ancient Chinese Novel Criticism

作　　者：高明月[1] GAO Ming-yue(College of Chinese Language and Literature,Guangxi Normal University,Guilin 541006,China)

机构地区：[1]广西师范大学文学院,广西桂林541006

出　　处：《太原师范学院学报（社会科学版）》2020年第1期20-25,共6页Journal of Taiyuan Normal University:Social Science Edition

基　　金：国家社科基金重大项目:“改革开放四十年文学批评学术史研究”(18ZDA276)。

摘　　要：小说以虚构为本体,小说自发端起就和虚构荒诞相联系,先秦时期小说虚构特点尚未自觉,一方面受释道巫术等思想的影响,一方面受史家实录精神的影响,小说批评以“实”为阅读美学的原则,视神怪志异为实有。唐宋时期,小说与历史的文体特征区别开来,文人有意识地用虚构的艺术手法进行小说创作。明清时期小说虚构的艺术特征趋于成熟,总结归纳出诸多虚构艺术手法,真幻关系的认识达到辩证统一。Fiction is the ontology of the novel.Since the start of the novel it is always connected with fiction and fantasy.However,in the Pre-Qin Period,the critics adopted reality as aesthetic standard and believed existence of deities and spirits under the influence of Buddhism,Taoism and witchcraft and the records of the historian.In the period of Tang and Song Dynasties,the features of novels and history were differentiated and the novel writers created the works by the way of fictitious methods.The artistic features of novels became mature in the period of Ming and Qing Dynasties,and many fictitious methods were summed up.And it achieved dialectical unity of cognition between the reality and illusion.

关 键 词：虚构 真幻 小说批评 艺术真实 

分 类 号：I206.2[文学—中国文学]