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从白话与文言的两个谱系的并立到文学史书写的多元格局生成,逐渐打破了以正史《文苑传》叙述体例为中心的书写模式。学术精英们的解读对象往往是文学经典,而文学经典存在着一个被接受和认可的过程。传统的文学史观显然是服从于史学观的,他们不会也不能把文学建构成为一个独立的谱系,文学史观是在史学观念的统治下被有限地呈现出来。于是,要想打破数千年形成的话语书写惯例就需要新思想的介入,随之瓦解了以人物谱系为中心的传统书写格局。文学史的创造性书写需要,一旦学术前沿的成果积累足以改变现有的叙述格局,一场“重写文学史”的运动就会展开了。新材料的发现,新方法的运用,新观念的萌生都要以各自的姿态汇入文学史的本文之中。
From the combination of the two pedigrees of vernacular and classical Chinese to the multi-dimensional pattern of the writing of literary history, the writing mode centered on the narrative style of “Literary Biography” of the official history was gradually broken down. The academic elite of the interpretation of the object is often a literary classics, and literary classics there is an accepted and recognized process. Obviously, traditional viewpoints of literary history obey the view of history, they can not and can not construct literature into an independent pedigree, and the concept of literary history is limitedly presented under the rule of historical conception. Therefore, to break the conventions of discourse formed for thousands of years requires the intervention of new ideas, which disrupts the traditional writing pattern centered on the pedigree of characters. The creative writing needs of the history of literature, once the accumulation of academic achievements enough to change the existing narrative pattern, a “rewrite the history of literature ” movement will be launched. The discovery of new materials, the application of new methods and the initiation of new ideas must all be incorporated into the literary history in this article.