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本文关注20世纪80年代“美学观点和史学观点”回归文学理论界这一现象,并从三个层面展开这一马克思主义文学批评最高标准在中国当代文学理论界的理论阐释情况:(一)对“政治标准”运用于文学领域的不同意见,(二)人性、人道主义讨论与文艺思想的解放,(三)反映论文学观的坚守与“审美”范畴的初步浮现。本文认为当下的文学理论界站在21世纪回顾和反思20世纪80年代的这段文学理论史时,除了看到当时的知识界急切渴求在文学批评中以审美标准取代政治标准,并将其叙述为文学理论重新陷入审美与政治二元对立的思维惯式的过程以外,也不应当忽略这一段理论史在意识形态重塑的层面所贡献的才智。区分“美学观点和史学观点”回归过程中,中国当代文学理论自律性的发展要求与文学批评参与意识形态重塑的两个不同层面,或许是评判这一段理论史时应当充分考虑到的问题。
This article focuses on the phenomenon of returning to the field of literary theory in the 1980s, and from three levels embarks on the theoretical interpretation of the highest standard of Marxist literary criticism in contemporary Chinese literary theory: (2) Humanistic and humanitarian discussions and the liberation of literary and artistic ideas; (3) Reflecting on the persistence of dissertations in literature and the initial appearance of “aesthetic” categories. This paper argues that when the literary theory circles in the 21st century review and reflect on the history of literary theory in the 1980s, they not only saw that the intellectual circles at that time were eager to replace the political standards with aesthetic standards in literary criticism, In addition to the process of literary theory being plunged back into the thinking habit of the dual opposition of the aesthetic and the political, the intellectual contribution made by the theoretical history in the process of ideological reshaping should not be neglected. Differentiating between “aesthetic point of view and historical point of view” During the regression process, the developmental requirements for the self-discipline of Chinese contemporary literary theory and the different levels of literary criticism involved in the remolding of ideology may be fully taken into account when judging the history of this section of history problem.