关于主题在文学作品中的地位,历来就受到了文艺理论家们的重视.早在魏晋时期,陆机在他的《文赋》里业已谈到:“意司契而为匠”.这“意”即指文章的宗旨.明代的王夫之,那就说得更为明了:“无论诗歌与长行文字,俱以意为主.意犹帅也;无帅之文,谓之乌合.”这就已基本触及到主题的本质特性.正因为主题具有这么重大的意义和作用,因而如何正确把握主题,就成为阅读和讲解作品至关重要的一环.很显然,主题是“作品的窗户”,“入门的向导”,只有正确地把握了它,方能洞悉文章的全貌并烛照其精髓所在.而通达主题的途径,自然不是单一的:或从人物的角度,或从题材的角度……倘能把握得当,自可“中”其所“的”.现在我们就前者的角度,谈谈《装在套子里的人》的主题.因为,对主要人物的不同评价,自然要影响到对主题的深刻概括.我们在语文教学活动中,发觉一部分参考书及某些专业性文章,非常武断地将别里科夫定为“旧 The status of the topic in literary works has always been valued by literary theorists. As early as in the Wei and Jin period, Lu Ji has already talked about his “Wen Fu”: “Impression of the Sister’s Diligence”. “Italian” refers to the purpose of the article. In the Ming Dynasty, Wang Fuzhi put it more clearly: “Either poetry or long lines of writing, all are intended to be the main ones. They are both handsome and handsome; ”This has basically touched on the essential nature of the topic. Just because the topic has such a great significance and role, how to correctly grasp the topic has become a crucial link in reading and explaining the works. It is clear that the topic is “works.” “Window” and “Introduction to the Guide” can only grasp the full picture of the article and reflect the essence of it. The way to reach the theme is not natural: from the perspective of the characters or the theme. If we can grasp it properly, we can “in” what we “have”. Now we talk about the theme of “the man in a jacket” from the perspective of the former. Because different evaluations of the main characters naturally affect To the profound generalization of the theme. We sent it in the language teaching activities. Some part of professional reference books and articles, the other Cove very arbitrarily as "old