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在八十年代的各种文学理论思潮中,有一种颇具影响的观点,即认为原有的文学理论是以哲学认识论为其逻辑前提的,缺乏一个价值论的视角;它将审美系统纳入因果决定论的逻辑框架内,使审美主体与审美客体的关系仅仅局限在反映与被反映的层面上,忽视了审美主体的能动性和创造性,结果造成了文学创作中人的主体性的失落;要恢复人的主体性地位,就必须从价值论出发,把人本身看作是文学的目的,把文学看作是人的自由本质的实现,把“自我实现”看作是文学的最高价值.基于这一观点,有人声称要在文学理论中开辟、补充价值论的视角,对“机械决定论”进行反拨,强化作家的主体意识,从而获得更大的心灵自由度和更高的创造功能.
In the eighties various literary theory trend, there is a quite influential point of view, that the original literary theory is based on philosophical epistemology as its logical premise, the lack of a perspective of value; it will be the aesthetic system into the causal decision On the logical framework, the relationship between the subject of aesthetics and the object of aesthetics is confined to the level of reflection and reflection, neglecting the initiative and creativity of the subject of aesthetics, resulting in the loss of human subjectivity in literary creation. , We must start from the theory of value, regard man himself as the purpose of literature, view literature as the realization of human’s free essence, and regard “self-realization” as the highest value of literature. From this point of view, some people claim that they should open up in literary theory and supplement the perspective of axiology to make a backlash against “mechanical determinism ” and enhance the writer’s subjective consciousness so as to obtain greater spiritual freedom and higher creation Features.