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已经是第三遍了,我读完《男人的一半是女人》的最后一句话,又一次被一种巨大、沉重而又锐利的忧伤攫住。我不是没有听到远远近近已经掀起、愈来愈激烈的争议的声浪,也不是没有下意识地感觉到灵魂在这部作品中冒险的艰难。但是,与对公开的立论可能产生的微妙效果的顾虑相比,我更加珍视这部作品给予我的心灵的直接的刺激。小说中的章永璘在开始他的痛苦的灵魂自剖之初说:“我一刹那间的感觉之中,压缩了人类亘古以来的经验。”作为一个读者和评论者,我相信,在我阅读作品的最初的审美感觉中,潜埋着对作品的进一步的审美分析的一切胚芽。
It is the third time that I have finished reading the last sentence, “Half a man is a woman,” caught again by a huge, heavy and sharp sadness. I either did not hear the waves of controversy far and near that have been set off, nor did I unconsciously feel the difficulty of the soul taking risks in this work. However, I place greater value on the direct stimulus my heart gives than the open consideration of the possible subtle effects of the argument. At the beginning of his painful soul self-dissection, Zhang Yong-yang in the novel said: “My instantaneous feeling has compressed the experience of humanity since ancient times.” As a reader and commentator, I believe that when I read a work In the first aesthetic feeling, buried all the germ of a further aesthetic analysis of the work.