美国现代中国文学史书写的美学范式与谱系  

The Aesthetic Paradigm and Genealogy of Overseas Modern Chinese Literary History Writing

作　　者：李松[1] 陈国伟 Li Song;Chen Guowei(School of Literature,Wuhan University,Wuhan 430072)

机构地区：[1]武汉大学文学院,武汉430072

出　　处：《浙江社会科学》2024年第7期127-140,159,160,共16页Zhejiang Social Sciences

基　　金：国家社会科学基金重大项目“百年欧美汉学家中国美学学术史研究”(23&ZD300)阶段性成果。

摘　　要：自20世纪60年代至今,美国的现代中国文学史书写思想多元,成就斐然。其书写路径最具代表性的是夏志清的新批评美学、许芥昱的政治美学以及王德威的后现代主义美学。不同时期美学范式的变迁反映了中美关系变迁、西方文学理论思潮冲击以及汉学史的内在流变等诸多因素。内外因素交织的历史语境生成了文学性历史与历史性文学的辩证以及解构主义思路。通过考察三位华裔学者不同的美学范式与交叉谱系,可以更好地揭示美国的现代中国文学史书写的整体脉络,为国内文学史研究提供互鉴与交流的跨文化阐释思路。From the 1960s to the present,the history of modern Chinese literature in the United States has been written with diverse ideas and remarkable achievements.The most representative writing paths are Chih-tsing Hsia’s New Critical Aesthetics,Kai-Yu Hsu’s political aesthetics,and David Derwei Wang’s postmodern aesthetics.The changes in aesthetic paradigms in different periods reflect many factors such as changes in Sino-US relations,the impact of Western literary theoretical trends,and the internal changes in the history of Sinology.The intertwined historical context of internal and external factors generates the dialectics and deconstructive ideas of literary history and historical literature.By examining the different aesthetic paradigms and pedigrees of the three Chinese scholars,we can better reveal the overall context of writing the history of modern Chinese literature in the United States,and provide cross-cultural interpretation ideas for mutual learning and exchange for domestic literary history research.

关 键 词：《中国现代小说史》 《中华人民共和国文学》 《哈佛新编中国现代文学史》 美学范式 文学史谱系 

分 类 号：I206.6[文学—中国文学]