在社会生活中,我们总是站在某一事物的外面去观察该事物,第一眼看到客体时,便会产生某种整体印象。阅读文学作品则不同,一本书,一部小说,一篇散文你不可能在第一瞬间就感知到它的整体,无论是最伟大的作品还是最蹩脚的作品,第一眼看到的都只是它所具有的“书” 或“文”的形式(印刷符号)。面对作品,读者只能身处其中,入乎其内,并按作品不同序次的段落依次逐一阅读的方式来进行阅读,来展开想象。因此,文学阅读中存在着一个必不可少的理解的游移视点在其内部不断运动。这种掌握对象的方式是文学独具的。 In social life, we always stand outside of something to observe the thing. When we first see the object, we have a certain overall impression. Reading literature is different, a book, a novel, a prose you can not be perceived in the first moment of its overall, whether it is the greatest works or the most crappy works, are the first to see It just has the form of “book” or “wen” (printed symbol). In the face of the work, the reader can only live in it, into the inside, and read the passages one by one according to the passage of the works in sequence, so as to start the imagination. Therefore, there is an indispensable understanding of literary reading wandering point of view in its continuous movement. This way of mastering objects is unique in literature.