论中国古代文学批评与创作的一体性  

On the Consistency of Literary Criticism and Literary Creation in Ancient China

作　　者：李明 LI Ming(Department of Chinese Language and Literature, Xi’an Jiaotong University, Xi’an Shannxi 710054, China)

机构地区：[1]西安交通大学人文学院中文系,陕西西安710054

出　　处：《南都学坛（南阳师范学院人文社会科学学报）》2021年第4期43-48,共6页Academic Forum of Nandu:Journal of the Humanities and Social Sciences of Nanyang Normal University

基　　金：国家社会科学基金青年项目“宋代诗学中的诗体病忌观念研究”,项目编号:16CZW025。

摘　　要：中国古代文学批评与文学创作具有一体性的特点。与西方的职业批评家传统不同,中国古代文学批评家与作家在身份上具有一致性。这有两方面的原因:一是古人认为只有谙熟创作甘苦,才有资格批评文章;二是创作者在学习模拟前人时须具有较高的批评能力,即所谓的“正法眼”“具眼”“识力”。古代文学批评与创作还具有互成循环的关系。一方面,文学批评需要丰富的创作经验作为前提;另一方面,文学批评以指导创作为目的,以创作论为核心内容。古代文学批评与创作在文体上还具有一体性。这种批评与创作合一的特性,形成于中国古代“知行合一”的思想传统。认识到这一特点,对于当代批评史研究具有启发意义。Literary criticism in ancient China had consistency with literary creation.Unlike Western literary criticism,critics in ancient China usually assumed the identity of a writer.This is due to two reasons,the first of which lies in the general psyche that only when one writes well can one comment well,and the second of which lies in the prerequisite for an astute insight expected of a critic.Literary criticism in ancient China was the premise of literary creation,while literary creation was also the premise of literary criticism.Literary criticism and literary creation in ancient China also had consistency in terms of the style of writing.The consistency was formed upon the Chinese tradition that‘knowledge and action’were an entirety.The realization of the consistency between literary criticism and literary creation provides important enlightenment for contemporary research on the history of literary criticism.

关 键 词：中国古代文学批评 创作 一体性 

分 类 号：I206.09[文学—中国文学]