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叶维廉提出的“模子”说的内在逻辑认为中西方有着不同哲学,语言艺术系于这些文化和哲学传统中,可用确定不移的“模子”来概括中西文学的特点。这种方法在中西比较诗学兴起的20世纪70年代可谓是打破西方的一言堂,为建立中国文学的主体性做出很大贡献。但是随着比较文学自身的发展和人文学科方法论的进步,“模子”说也显露出生硬和僵化的一面。应对比较诗学发展早期的方法论“模子”说在新时代下显露的不足,本文试图将文学研究拉回与人最本真的“情感结构”的关系中来思考,通过中西方对情感与政教关系的不同理解,考察中西方诗学理论的不同特点和复杂的同异关系。
Ye Weilian’s internal logic of “mold” states that China and the West have different philosophies. Language arts, based on these cultural and philosophical traditions, can be summed up in the characteristics of Chinese and Western literature by using indefinable “molds.” This method can be described as a word-breaking of the West in the 1970s that emerged in the comparative poetics between China and the West and contributed greatly to the establishment of the subjectivity of Chinese literature. However, with the development of the comparative literature itself and the improvement of the humanities methodology, “mold ” said also revealed a blunt and rigid side. To deal with the shortcomings of the early methodology of “poetics” in the development of comparative poetics, this paper attempts to bring literary studies back to its relationship with the most real “emotional structure” of human beings. Different understandings of the relationship between emotion and politics and religion study different characteristics of Sino-Western poetic theory and complex relationship of sameness and difference.