本文選題：文學(xué)鑒賞 + 主體介入　； 參考：《暨南大學(xué)》2000年碩士論文

【摘要】： 中西文論關(guān)于文學(xué)鑒賞的主體性有許多精彩的論述。中國 文論中的賦詩斷章、詩無達(dá)詁、以意逆志、知音、再創(chuàng)造等觀點(diǎn)， 以及西方文學(xué)接受理論的具體化、視界融合、期待視界、兩極、閱 讀常規(guī)等觀點(diǎn)，對(duì)作者——文本——讀者的三者關(guān)系進(jìn)行了全方位 的觀照。確立了讀者（鑒賞者）的主體地位，肯定了讀者對(duì)文本意 義的參與權(quán)，揭示了“詩人擋不住讀者”的解讀規(guī)律。但也存在著 概念表述不準(zhǔn)確、過分夸大讀者作用等缺憾。 中西文論關(guān)于文學(xué)鑒賞主體性的論述，衍生出兩種主體介入范 式，即“傳統(tǒng)范式”和“現(xiàn)代范式”。傳統(tǒng)范式的核心是“走近作者” 和“創(chuàng)造性背離”的對(duì)立統(tǒng)一。讀者可能在再現(xiàn)作者意圖和文本意 義的基礎(chǔ)上進(jìn)行有限的再創(chuàng)造�，F(xiàn)代范式的核心是讀者完全不受文 本的制約，可以自由地發(fā)明和創(chuàng)造意義。傳統(tǒng)范式可適當(dāng)?shù)叵拗棺x 者的“創(chuàng)造性背離”，不使其走得太遠(yuǎn)，但又使讀者的想象力和創(chuàng)造 力受到一定程度的束縛；現(xiàn)代范式為讀者拓寬了自由創(chuàng)造的空間，， 但又容易導(dǎo)致讀者的隨心所欲和作品客觀意義價(jià)值的喪失。一般來 說，傳統(tǒng)范式比較適合于鑒賞現(xiàn)代派文學(xué)以外的文學(xué)作品，而現(xiàn)代 范式則適合于鑒賞現(xiàn)代和后現(xiàn)代文學(xué)作品。讀者要恰當(dāng)?shù)匕盐蘸瓦\(yùn) 用兩種主體介入范式，使之利弊互補(bǔ)。 本文所說的“傳統(tǒng)”和“現(xiàn)代”是超越時(shí)空概念的兩種介入方 式，并不是“傳統(tǒng)”就一定位于前，“現(xiàn)代”就一定位于后；也不是 “現(xiàn)代”為西方所獨(dú)有，“傳統(tǒng)”在中國方多見。這種歸納和表述是 前人尚未有過的創(chuàng)新。
[Abstract]:There are many wonderful expositions on the subjectivity of literary appreciation in Chinese and Western literary theories. China In the literary theory of the poem chapter, the poem does not reach the exegesis, with the meaning to oppose the will, the bosom friend, the re-creation and so on viewpoint, And the materialization of the western literary reception theory, the fusion of the horizon, the expectation of the horizon, the two poles, the reading This paper makes a comprehensive analysis of the relationship among the author, the text and the reader from the point of view of regular reading. To take a look at. It establishes the subject status of the reader (connoisseur) and affirms the reader's meaning to the text. The right of participation of meaning reveals the interpretation law of "Poet can't stop readers". But there are. The concept expression is inaccurate, exaggerates the reader's function and so on. On the subjectivity of Literary appreciation in Chinese and Western Literary theories, there are two kinds of subjects involved in it. Form, namely "traditional paradigm" and "modern paradigm". The Core of the traditional Paradigm is "approach to the author" The unity of opposites with "creative deviation". The reader may be reproducing the author's intention and textual meaning On the basis of the meaning of limited re-creation. The Core of Modern Paradigm is that readers do not accept text at all This restriction is free to invent and create meaning. Traditional Paradigm can limit Reading properly His "creative deviation" does not make it go too far, but it also makes the reader's imagination and creativity. Force is bound to a certain extent; modern paradigms broaden the space for readers to create freely. However, it can easily lead to the loss of the objective meaning value of the works. Usually. The traditional paradigm is more suitable for appreciating literary works other than modernist literature, while the modern paradigm is more suitable for appreciating literary works other than modernist literature. The paradigm is suitable for appreciating modern and postmodern literary works. Readers should properly grasp and operate Use two kinds of main body to intervene the paradigm, make its advantages and disadvantages complement each other. The "tradition" and "modern" in this paper are the two interventionsof transcending the concept of space-time. Style, "tradition" is not necessarily in the front, "modern" must be in the back; nor is it Modern is unique to the West, and tradition is more common in China. This kind of induction and expression is Innovations that have not yet been created before.
【學(xué)位授予單位】：暨南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2000
【分類號(hào)】：I01

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王宏偉;;高中語文鑒賞課設(shè)置探討[J];現(xiàn)代閱讀(教育版);2012年15期

本文編號(hào)：1864624