今年6月,我在南京参加一个会议,会上,一些学者谈到文学批评在90年代中国面临的困境,认为有一种现象值得注意,也许是引导批评走出困境的一条通道。他们发现,如果批评不再仅仅被理解为针对某一作品的鉴赏和解释,也不再仅仅是从某一作品内部发现其价值和意义并做出某种判断的话,那么,在这里,批评的视野和空间就有了一种被大大地向外扩张的可能。事实上,80年代中国的文学批评实践,其主流是以审美为中心,将文学纳入“审美的视野”。因此有人指出,80年代的审美文论在思想内涵上不仅强化了康德美学的非功利原则以及尼采美学的非理性原则,而且广泛接受了存在主义美学的个体自由原则和西 In June this year, I attended a conference in Nanjing. At the meeting, some scholars talked about the predicament faced by literary criticism in the 1990s and considered that there was a phenomenon worth noting. It may be a channel for guiding criticism out of the woods. They found that if criticism is no longer understood merely as appreciation and interpretation of a work, nor is it merely to discover its value and meaning and to make some judgment within a work, then the critical There is a possibility that vision and space will be greatly expanded outward. In fact, the mainstream practice of literary criticism in China in the 1980s centered on the aesthetic and incorporated literature into the aesthetic vision. Therefore, it has been pointed out that the aesthetic literary theory of the 1980s not only reinforced the non-utilitarian principles of Kant’s aesthetics and the irrational principles of Nietzsche’s aesthetics, but also widely accepted the individual freedom principle of existential aesthetics