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“典型”是一个在中国现当代文艺学和美学中多次引起争论的理论问题。上个世纪二三十年代,周扬和胡风就这个问题争论过,建国后又出现过两次大规模争论。新时期以来,随着西方各种新理论、新思潮的涌入,文艺学和美学的议题层出不穷,既新颖又多样,人们遂对这一理论问题失去了热情。有学者认为在上个世纪80年代中期以后,典型就开始“崩解”了。(1)然而,时至今日,典型也还是文艺批评中的常用语,也没有完全淡出研究者的视线。近年来某些著作对典型的
“Typical ” is a theoretical issue that has caused many controversies in both Chinese modern and contemporary literary studies and aesthetics. In the 1920s and 1930s, Zhou Yang and Hu Feng debated this issue. After the founding of the People’s Republic, there were also two large-scale controversies. Since the new period, with the influx of Western new theories and new thoughts, the topics of literature and art and aesthetics emerge one after another, both innovative and diverse, and people have lost their enthusiasm for this theoretical issue. Some scholars think that after the mid-1980s, the typical situation began to “collapse”. (1) However, today, the typical is also a common language in literary criticism, nor did it completely fade out the researcher’s line of sight. Some writings in recent years are typical