文学批评的“日内瓦学派”标榜“一切批评都首先是,从根本上也是一种对意识的批评”。是什么从根本上证明了意识批评出现的必然性和合法性,这种批评思维在思想史上又位于何种境地,成为笔者回溯式思考的问题起点。从笛卡尔以来的形而上学独断论,将一切存在推向清晰而明确的唯一的智识活动,否定了存在与外部客体的连接,使它成为“纯粹意识的孤岛”。17世纪以来的浪漫主义的诗人与笛卡尔主义的抽象世界分道扬镳,通过情感的线索向着模糊而非理性的存在前进,意识批评正是在抽象世界与非理性情感二者对立的背景下做出的艰难的突围。从《批评意识》提供的这一流派的诸多思想线索中,本文试图勾勒埋藏在看似形散的“日内瓦学派”意识批评内部一致的认识论根基。意识批评终究要抛弃作品的外在形式,走向一种非对象化的境地。 Literary criticism “Geneva School ” advertised “All criticism is above all, is basically a kind of criticism of consciousness ”. What fundamentally proved the inevitability and legitimacy of the emergence of consciousness criticism, and what kind of critical thinking this thought was in the history of the ideology became the starting point of the author’s retrospective thinking. The doctrine of metaphysics since Descartes pushed everything to a clear and definite sole intellectual activity and denied the existence of the connection with external objects and made it an “isolated island of pure consciousness.” Romantic poets since the 17th century parted ways with the abstract world of Descartes, proceeding from the clue of emotion towards the vague but irrational existence. Consciousness criticism was made against the backdrop of the confrontation between abstract world and irrational emotion Difficult breakthrough. From the many ideas and clues of this genre provided by Critical Consciousness, this article attempts to outline the epistemological foundation that lies within the seemingly fragmented “Geneva School ” Consciousness Criticism. After all, conscious criticism must abandon the external form of the work and move towards an unobtrusive situation.