比较文学的中国范式  

The Chinese Paradigm of Comparative Literature

作　　者：李庆本 Li Qingben(Institute for Arts Education,Hangzhou Normal University)

机构地区：[1]杭州师范大学艺术教育研究院

出　　处：《文艺理论研究》2023年第2期13-23,共11页Theoretical Studies in Literature and Art

基　　金：国家社科基金艺术学一般项目“艺术美学领域跨文化阐释的空间性研究”[项目编号:19BA009]阶段性成果。

摘　　要：跨文化阐释是比较文学的中国范式。它是由20世纪70年代港台学者所提倡的比较文学中国学派的“阐发研究”直接发展而来的。跨文化阐释突破“中西二元论”模式,遵循居间之中道,追求一种多元化的普遍主义理念。它既不同于法国学派“影响研究”的文化中心主义,也不同于美国学派“平行研究”的文化普遍主义。跨文化阐释注重内部与外部、审美与文化相结合的综合研究,这也使它与注重外部研究、实证研究的影响研究,以及注重内部研究、美学研究的平行研究区别开来。建构比较文学的中国范式,是确立比较文学中国学派的基础。Developed from “elucidation studies” of the Chinese school of comparative literature advocated by some Chinese scholars from Hong Kong and Taiwan in the 1970s, “cross-cultural interpretation” now can be considered as the Chinese paradigm, which breaks the Sino-Western dualism by following the reconciling means and pursuing pluralistic universalism. This Chinese paradigm is not only distinct from the French school's cultural centralism exemplified by “influence studies”, but also different from the American school's cultural universalism as indicated in “parallel studies”. With its emphasis on the integration of internal and external, aesthetic and cultural research, the Chinese paradigm is also distinct from the external and empirical approaches of “influence studies”, and the internal and aesthetic approaches of “parallel studies”. The construction of the Chinese paradigm is the foundation for the Chinese school of comparative literature.

关 键 词：中西二元论 跨文化阐释 阐发研究 中国范式 比较文学 

分 类 号：I0-03[文学—文学理论]