接受美学的代表人物姚斯在谈到作品概念时说过:“一部文学作品,并不是一个自身独立,向每一时代的每一读者均提供同样的观点的客体。它不是一尊纪念碑,形而上学地展示其超时代的本质。它更多地象一部管弦乐谱,在其演奏中不断获得读者新的反响,使本文从词的物质形态中解放出来,成为一种当代的存在。”以接受美学为代表的当代读者理论,正是建立在对作品观念的上述调整基础上的。这种新作品观念的核心,是变传统观念中作品的支配性为受动性,读者的被动性为创造性,并打破传统的主客体分离法,将读者因素纳入作品的本体存在之中,从而彻底改变以往那种静止、封闭的作品观念,赋予作品以动态、开放的品格。这种观念的调整,对创作与接受的研 When talking about the concept of a work, Yao Si, an aesthetics representative, said: “A literary work is not an object that is independent of itself and provides the same view to every reader of every age. It is not a monumental monument to metaphysics To showcase its epoch-era essence.It is more like an orchestra, in the performance of its continuous access to new readers, so that this article liberated from the material form of the word, as a contemporary existence. ”To accept The contemporary reader theory represented by aesthetics is based on the above adjustment of the concept of work. The core of this new concept of work is to change the dominance of the works in the traditional concept into the initiative. The passiveness of the reader is creative, and the traditional method of separation of subject and object is broken down. The reader’s factor is included in the ontological existence of the work. Completely change the kind of static, closed concept of the past, giving the work a dynamic and open character. The adjustment of this concept, research on creation and acceptance