西方美学家布洛把审美主体与客体间发生的“无我的但又是如此有我的关系”,称为“距离”,认为“距离把艺术提高超出个人利害的狭隘范围之外”,使主体能对客体进行凝神观照,从而获得审美愉悦。这种“距离”说对于我们讲析文学作品有一定启示。 长期以来,在语文教学中,我们一直提倡作者编者教者学者“四心相通”、“心灵共鸣”,不少教师授课时努力投入情感,进入角色。诚然,根据美感的直觉性和情感性特征,这样做能增强作品的感染力,激发学生的学习兴趣。但是,这种“投入”和“进入”如果达到了绝对的忘形忘情、浑然无间的程度,学生感到过分真实,反而不能 The western esthetician Bulo called the “selfless but yet so self-relationship” between the aesthetic subject and the object as “distance”, arguing that “distance increases the art beyond the narrow range of personal interest”, so that The subject can observe the object in order to obtain aesthetic pleasure. This “distance” theory has certain implications for us to analyze literary works. For a long time, in the teaching of Chinese, we have always advocated authors and editorial teachers and scholars to “connect with each other” and “resonate with the soul”. Many teachers try hard to invest in emotions and enter their roles. It is true that, based on the intuitive and emotional characteristics of aesthetic perception, doing so can enhance the appeal of the work and inspire students’ interest in learning. However, if these “inputs” and “entry” are absolutely unforgettable, the students feel too real, but they cannot