【摘要】：傳統(tǒng)的文藝真實(shí)觀，并沒(méi)有一個(gè)嚴(yán)格的時(shí)間界限，主要指以反映論為哲學(xué)基礎(chǔ)的一種 對(duì)文藝真實(shí)的觀點(diǎn)，從狹義來(lái)講，主要指我國(guó)八十年代文藝真實(shí)性問(wèn)題討論中對(duì)這一問(wèn)題 形成的一些主要觀點(diǎn)。 傳統(tǒng)的文藝真實(shí)論，其實(shí)質(zhì)是從三個(gè)不同角度對(duì)文藝作品進(jìn)行評(píng)判：（一）是否反映 了真實(shí)的社會(huì)主活；（二）是否“合情合理”地反映了社會(huì)生活：（三）是否反映了社會(huì) 生活發(fā)生、發(fā)展的本質(zhì)、規(guī)律及社會(huì)發(fā)展的趨勢(shì)。 三個(gè)方面的評(píng)判標(biāo)準(zhǔn)從不同層面，不同角度出發(fā)解決問(wèn)題，相互獨(dú)立又相互補(bǔ)充，均 以唯物主義反映論為哲學(xué)出發(fā)點(diǎn)，曾為文藝?yán)碚撝芯唧w問(wèn)題的解決作出過(guò)巨大貢獻(xiàn)。但是， 三個(gè)方面都還存在著一定的問(wèn)題：有一定片面性、矛盾性和單視角性。三個(gè)方面基本上都 只看重作品與現(xiàn)實(shí)生活的關(guān)系，多年來(lái)缺少進(jìn)一步的發(fā)展，在解決實(shí)際問(wèn)題時(shí)，存在著僵 化傾向。 筆者在分析、評(píng)述、繼承與借鑒傳統(tǒng)真實(shí)論的基礎(chǔ)上，對(duì)藝術(shù)真實(shí)問(wèn)題提出新的解訣 設(shè)想：首先應(yīng)以文學(xué)藝術(shù)的特質(zhì)──藝術(shù)是虛構(gòu)的時(shí)空──出發(fā)，在兼顧藝術(shù)與社會(huì)生活 關(guān)系的基礎(chǔ)上，更應(yīng)注重接受者在具體文藝作品接受過(guò)程中的真實(shí)感受，即文藝的真實(shí)是 接受者以假為真。以假為真的“假”指的是具有假定性的藝術(shù)品，或者說(shuō)藝術(shù)的虛幻性。 這是藝術(shù)存在的前提和特質(zhì)，以此為界藝術(shù)與生活拉開了距離。小說(shuō)是虛構(gòu)的生活，詩(shī)歌 是虛構(gòu)的情感……所謂“真”在這里指真實(shí)的感覺(jué)、感受。只有對(duì)藝術(shù)品具有了“真” 的感受，或似真感，藝術(shù)品才成為真正的藝術(shù)品。如果只具備假定性，沒(méi)有讀者深入其中 去評(píng)定其真實(shí)性，這個(gè)藝術(shù)品就不能稱為是真正的藝術(shù)品。在某種程度上說(shuō)，它只能是一 部具有假定性的文本，而不是完全意義上的作品。 文藝真實(shí)的評(píng)判標(biāo)準(zhǔn)是：接受者能否對(duì)虛構(gòu)的藝術(shù)境界信以為真，從中得到藝術(shù)享受／ 藝術(shù)品是虛構(gòu)的，但是接受者卻能感知其中的人情冷暖，這就是文藝真實(shí)的展現(xiàn)──它不 且 隊(duì)嚇帥范大學(xué)碩士研究生畢業(yè)論文 是客觀靜止的外在評(píng)判，而是一個(gè)動(dòng)態(tài)的過(guò)程，存在于一切藝術(shù)品的接受過(guò)程之中。 我們的視角是評(píng)判者在作品與生活之中，他帶有生活中的經(jīng)驗(yàn)，評(píng)判的此刻又在作品 所虛構(gòu)的世界之中，他穿梭往來(lái)于作品與生活之間，雖可以盡量客觀化，卻排除不了主殲 因素。“在……之中”是我們認(rèn)為評(píng)判者應(yīng)選取的角度。 二十世紀(jì)六十年代興起的接受美學(xué)啟示我們，創(chuàng)作的目的是為了使讀者接受，接受者 對(duì)文藝作品的成敗與否起很關(guān)鍵的作用，因而有權(quán)成為藝術(shù)真實(shí)性問(wèn)題解訣的硅碼。 這樣，從新的角度考慮，整個(gè)藝術(shù)真實(shí)性問(wèn)題的衡量標(biāo)準(zhǔn)是：有一定生活閱歷，具備 一定藝術(shù)鑒賞水平的讀者，在正常心態(tài)下能否進(jìn)入藝術(shù)的虛構(gòu)境界。換句話說(shuō)，對(duì)于一個(gè) 生活經(jīng)歷豐富，又懂得藝術(shù)規(guī)范的閱讀者，在正常閱讀心態(tài)下，不能茍同子作品中所描寫 的情景，那么，，這部作品便是失真的；反之，如果這樣的讀者能置身作品之中，樂(lè)其所樂(lè)， 悲其所悲，那么這部作品便具有藝術(shù)的真實(shí)性。 與傳統(tǒng)的藝術(shù)真實(shí)論比較而言，新的藝術(shù)真實(shí)論表現(xiàn)為解訣問(wèn)題角度的變易——把藝 術(shù)與生活的外在比較變?yōu)閺淖x者的感受出發(fā)來(lái)解訣問(wèn)題。其深層是對(duì)藝術(shù)觀念認(rèn)識(shí)的轉(zhuǎn) 變，是整個(gè)二十世紀(jì)以來(lái)，哲學(xué)觀念轉(zhuǎn)換的一個(gè)側(cè)面反映。 筆者認(rèn)為藝術(shù)真實(shí)性問(wèn)題的重新提出有助于深化這一問(wèn)題的研究，它的重新解訣使一 個(gè)司空見(jiàn)慣甚至以為早有定論的問(wèn)題，突然之間顯得陌生，然而，這樣做有利于打破思維 定勢(shì)，至少為更妥帖地解決這一問(wèn)題提供了一個(gè)契機(jī)。
[Abstract]:The traditional view of literature and art does not have a strict time limit, which mainly refers to a kind of philosophy based on the reflection of reflection. The view of the reality of literature and art, in the narrow sense, mainly refers to the authenticity of the literature and art in the 1980s this problem is addressed in the discussion of the problem Some of the main points of view. The traditional literature and art are real The essence of the theory is to judge the literary works from three different angles: (1) whether the real social main activity is reflected or not; unk>鈥渕ake se nse " It reflects the social life: (3) whether it reflects the occurrence and development of social life The trend of quality, law and social development., different The problem is solved from the point of view, and they are mutually independent and mutually complementary. On the Reflection of the Materialism The starting point of philosophy has made a great contribution to the solution of the specific problems in the theory of literature and art. However, three There are some problems in this respect: one-sided, contradictory and single-view. The three aspects are basically Only value the relationship between the work and the real life, the lack of further development over the years, in the solution in case of actual problem, In the tendency of stiffness. The author's analysis, comment, succession and borrowing to learn the truth of the tradition On the Basis of the Theory On the Basis of the Art, the New Solution to the Art of the Art It is assumed that the art of literature and art should first be the fictions of space-time. to take into account the art and the society, set off to live On the basis of the relationship, more attention should be paid to the real feeling of the recipient in the process of the acceptance of the specific literature and art, that is, the true of the literature and art is the true of the recipient. finger It is the art of a false nature, or the illusion of art. This is art. The premise and nature of the novel is the distance between the art of the world and the life. The novel is a fiction. a life, a poem, It's a fictitious emotion. It's so-called" trunk> "True. "here is the real feeling, feeling. It's only for work of art.鈥

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