本文選題：接受美學(xué) + 姚斯��； 參考：《湖南師范大學(xué)》2010年博士論文

【摘要】：從20世紀(jì)80年代初以來(lái)接受美學(xué)的中國(guó)“旅行”已近30年。其間,它從西洋的“舶來(lái)品”逐步變成中國(guó)文藝學(xué)研究中獨(dú)具個(gè)性的理論批評(píng)話語(yǔ),并與中國(guó)問(wèn)題對(duì)接,直接參與了中國(guó)新時(shí)期文論范式的轉(zhuǎn)型。以往關(guān)于接受美學(xué)在中國(guó)接受歷程的研究,有的學(xué)者關(guān)心接受史的全局,有的探究接受史的細(xì)部,不乏精煉之論和自覺(jué)意識(shí)。不過(guò),比照接受美學(xué)在中國(guó)接受語(yǔ)境中的繁榮狀況,中國(guó)學(xué)者對(duì)其接受史的研究總體來(lái)說(shuō)相對(duì)滯后,還未深入到中西文論整體對(duì)話的層面�；诖�,我們的選題借鑒薩義德“理論的旅行”模型提出“問(wèn)題域研究模式”以“接受美學(xué)對(duì)當(dāng)代中國(guó)文論建設(shè)作用何在?”為核心問(wèn)題,首先探究接受美學(xué)在中國(guó)文藝學(xué)領(lǐng)域接受的整體行程。然后,在比較接受成果的豐富性和接受者問(wèn)題意識(shí)的強(qiáng)度后,我們選取“重寫文學(xué)史”、“中國(guó)古代文論的現(xiàn)代轉(zhuǎn)換”兩大問(wèn)題域,探析它們和接受美學(xué)交融碰撞的復(fù)雜關(guān)聯(lián),深度展示中國(guó)當(dāng)下文論話語(yǔ)獨(dú)立性和民族化的轉(zhuǎn)型歷程。本文分為四個(gè)部分： 第一個(gè)部分是導(dǎo)論,探討選題的研究背景,主要包括以下幾個(gè)內(nèi)容：選題中“接受美學(xué)”和“文藝學(xué)”等關(guān)鍵詞的闡釋、選題研究的歷史和現(xiàn)狀、選題的來(lái)由和理論價(jià)值、接受史研究方法的運(yùn)用和思考。 第一編主要探討接受美學(xué)在西方的興起和在中國(guó)的理論“旅行”。接受美學(xué)是德國(guó)文學(xué)研究危機(jī)的必然產(chǎn)物。伽達(dá)默爾的闡釋學(xué)美學(xué)和英伽登的現(xiàn)象學(xué)文論這兩大理論來(lái)源決定了接受美學(xué)的整體架構(gòu)和理論傾向。接受美學(xué)有力地推動(dòng)了20世紀(jì)西方文論轉(zhuǎn)向讀者中心模式,但是它在理論和實(shí)踐上的局限也是明顯的。從世界范圍看,接受美學(xué)的傳播是我們接受這一理論的歷史背景。從中國(guó)范圍看,接受美學(xué)在文藝學(xué)領(lǐng)域“旅行”的整體行程體現(xiàn)為三大階段：譯介、研究和運(yùn)用。 第二編研討接受美學(xué)與重寫文學(xué)史的歷史關(guān)聯(lián)。狹義的“重寫文學(xué)史”討論為中國(guó)學(xué)者沖破舊的文學(xué)史觀念引進(jìn)接受美學(xué)打下了良好的思想基礎(chǔ)。近30年來(lái),在廣義的“重寫文學(xué)史”學(xué)術(shù)思潮中,中國(guó)學(xué)者為了解決“文學(xué)史悖論”引入接受美學(xué)“重構(gòu)”中國(guó)文學(xué)史景觀,形成了中國(guó)化的文學(xué)接受史范式,實(shí)現(xiàn)了兩大歷史性轉(zhuǎn)向：一是由政治標(biāo)準(zhǔn)凌駕于藝術(shù)(審美)標(biāo)準(zhǔn)的文學(xué)史范式逐漸轉(zhuǎn)向?qū)徝篮蜌v史統(tǒng)一的文學(xué)史范式,其中讀者的接受活動(dòng)發(fā)揮關(guān)鍵的調(diào)節(jié)作用。二是由作家作品為重心的文學(xué)史闡釋體系轉(zhuǎn)向以文本和讀者的交流關(guān)系為重心的文學(xué)史闡釋體系。同時(shí)姚斯的原初理論在中國(guó)“異質(zhì)語(yǔ)境”中也被日益改造補(bǔ)充,逐步“中國(guó)化”。文學(xué)史范式的轉(zhuǎn)變反映了文學(xué)史理論的更新,彰顯了中國(guó)當(dāng)代文論話語(yǔ)由工具性向自主化的轉(zhuǎn)變。 第三編主要圍繞接受美學(xué)和中國(guó)古代文論的現(xiàn)代轉(zhuǎn)換之間的接受史關(guān)聯(lián)展開。由于接受美學(xué)和中國(guó)古代文論的某些相似性、接受美學(xué)對(duì)“中國(guó)問(wèn)題”的方法論價(jià)值和中國(guó)學(xué)者文化心態(tài)的兩面性等諸多原因,接受美學(xué)能夠介入“中國(guó)古代文論的現(xiàn)代轉(zhuǎn)換”議題。中國(guó)學(xué)者近30年不懈努力,在中西比較視域下借用接受美學(xué)對(duì)中國(guó)古代接受理論的諸多范疇命題進(jìn)行了現(xiàn)代闡釋,構(gòu)成了一個(gè)歷時(shí)性的序列,反映了中國(guó)古代接受理論逐步深化和日益自覺(jué)的發(fā)展歷程。另一方面,在中西比較視域下中國(guó)學(xué)者逐步發(fā)現(xiàn)古代接受理論在文學(xué)要素的關(guān)系、接受活動(dòng)特征和接受研究的思維方式、批評(píng)語(yǔ)體、接受主體、具體運(yùn)作上的五大民族特征,并通過(guò)文化模子追蹤法追溯五大特征背后的中西方文化根源。中國(guó)學(xué)人最終在歷時(shí)性和共時(shí)性的交叉點(diǎn)上初步構(gòu)建了富有東方文化韻味的接受理論體系,推進(jìn)了中國(guó)當(dāng)代文論的民族化進(jìn)程。這不能不說(shuō)是“中國(guó)古代文論的現(xiàn)代轉(zhuǎn)換”的一項(xiàng)實(shí)績(jī)。 第二編討論的“中國(guó)文學(xué)接受史”(主要成績(jī)?cè)谥袊?guó)古代文學(xué)接受史領(lǐng)域)新范式同第三編討論的“中國(guó)古代接受理論”聯(lián)系緊密。前者對(duì)中國(guó)古代文學(xué)接受現(xiàn)象的研究和對(duì)文學(xué)接受規(guī)律、趨勢(shì)的總結(jié),為后者的現(xiàn)代闡釋提供了理論素材。反過(guò)來(lái),后者的研究成果富有理論性和思辨性,可以深化我們對(duì)前者(中國(guó)文學(xué)接受史)的把握�？梢妰烧呦噍o相成,前者是后者的前提和基礎(chǔ),后者是前者的延伸和深化。這樣,論文第二編和第三編的內(nèi)在聯(lián)系就清晰可見。
[Abstract]:Since the beginning of the 1980s, Chinese "travel" has been accepted for nearly 30 years since the beginning of the 1980s. During the period, it has gradually changed from "foreign goods" in the western world to the theoretical critical discourse of Chinese literature and art, which is directly involved in the transformation of the paradigm of literary theory in the new period of China. In the study of Cheng, some scholars are concerned about the overall situation of the acceptance of history, some of which explore the details of the history of acceptance, without lack of the theory of refinement and consciousness. However, compared with the prosperity of reception aesthetics in the context of acceptance in China, Chinese scholars have lagged behind in the study of the history of acceptance in general and have not yet penetrated the level of the overall dialogue between Chinese and Western literature. Based on this On the basis of "what is the role of reception aesthetics in the construction of contemporary Chinese literary theory?" as the core issue, we first explore the overall itinerary of acceptance aesthetics in the field of Chinese literature and art, and then compare the richness of the acceptance of the results and the acceptor's meaning. After the strength of the knowledge, we choose "Rewriting the history of literature" and "the modern transformation of Chinese ancient literary theory" in two major domains, exploring the complex relations between them and accepting aesthetic blending and collision, and deeply displaying the transformation process of the independence and nationalization of Chinese contemporary literary discourse. This article is divided into four parts:
The first part is the introduction, which discusses the research background of the topic, mainly including the following contents: the interpretation of the key words of "reception aesthetics" and "literature and art", the history and present situation of the topic selection, the origin and theoretical value of the topic, the application and thinking of the research methods of the acceptance history.
The first part mainly discusses the rise of reception aesthetics in the West and the "travel" in China. Reception aesthetics is the inevitable product of the crisis in German literature. The two theoretical sources of Gadamer's hermeneutic aesthetics and Ingaden's phenomenological theory determine the overall frame and theoretical tendencies of reception aesthetics. In the twentieth Century, the western literary theory turned to the reader center model, but its limitations in theory and practice were also obvious. From the world wide perspective, the dissemination of reception aesthetics is the historical background of our acceptance of this theory. From the perspective of China, the overall journey of "travel" in the field of literature and art in the field of reception aesthetics embodies three stages: translation and research Study and use.
The second edition discusses the historical relevance of accepting aesthetics and rewriting the history of literature. The discussion of "Rewriting the history of literature" in a narrow sense has laid a good ideological foundation for the Chinese scholars to break through the old literary history concept and introduce the reception aesthetics. In the past 30 years, in the broad sense of "Rewriting the history of literature" in the broad sense, Chinese scholars have made a solution to the "paradox of literary history". The reception aesthetics "reconstructs" the landscape of Chinese literature history and forms the paradigm of Chinese literary acceptance history, and realizes two historical changes: one is that the literary history paradigm, which is overriding the standard of Art (aesthetic), gradually turns to the Literary History Paradigm of aesthetic and historical unity, and the reader's acceptance activities play a key role in regulating the literary history. The two is the literary history interpretation system, which focuses on the literary history of the writers and works. The original theory of Yao's original theory has been increasingly transformed and supplemented in the Chinese "heterogeneous context" and gradually "Sinicization". The transformation of the literary history paradigm reflects the renewal of the theory of literary history. The discourse of contemporary Chinese literary theory changes from instrumental to autonomous.
The third part mainly revolves around the connection of the acceptance history between the reception aesthetics and the modern Chinese literary theory. Due to some similarities between the reception aesthetics and the ancient Chinese literary theory, the reception aesthetics can be involved in the "China" and the two sides of the Chinese scholar's cultural mentality. The issue of the modern transformation of ancient literary theory. Chinese scholars have made unremitting efforts in the past 30 years. In the comparative view of Chinese and western, a variety of categories of propositions of Chinese ancient acceptance theory have been interpreted in the comparative view of China and the west, which constitute a diachronic sequence, reflecting the gradual deepening and increasingly conscious development of the Chinese ancient theory of acceptance. In the perspective of Chinese and Western comparative perspective, Chinese scholars have gradually discovered the relationship between the ancient acceptance theory in the literary elements, the acceptance of the characteristics of the activities and the way of thinking of accepting the study, criticizing the language, accepting the subject, and the specific operation of the five national characteristics, and tracing the cultural roots of the Chinese and Western cultures behind the five characteristics by tracing the culture model. At the end of the diachronic and synchronic points, people initially set up a system of acceptance theory rich in oriental culture and promoted the process of nationalization of Chinese contemporary literary theory, which can not be said to be a achievement of "the modern transformation of Chinese ancient literary theory".
The second edition of "the history of Chinese literature acceptance" (the main achievements in the field of Chinese Ancient Literature) is closely related to the "Chinese ancient acceptance theory" discussed in the third series. The former provides a theoretical element for the study of the reception of Chinese ancient literature and the trend of the acceptance of literature and the trend of the literature acceptance. In turn, the latter's research results are theoretical and speculative, which can deepen our grasp of the former (the history of Chinese Literature). The two are complementary to each other. The former is the premise and foundation of the latter, the latter is the extension and deepening of the former. In this way, the internal relations between the second and the third parts of the paper are clearly visible.

【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：I01

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