摘要
本文从批评功能的角度，考察本世纪上半叶中国三种主要的文学批评形态。第一种是介入创作的批评，批评家用经验、智慧和热情拥抱作品，通过批评心得的诗意传达激活创作的灵性；它和创作一同前进，扶植文学新人的成长，推动文学流派的发展，体现了批评的“艺术关怀”；鲁迅、李健吾、胡风等人可视为其代表。第二种批评追求独立的精神文化价值，它注重阐释作品中可能存在的哲学、社会学、伦理学、心理学和语言学的意义，它为了拓展批评主体的知识领域，适应批评自我建设的需要，介绍使用西方各种批评方法，推进了中国文学批评的现代转型，体现了批评的“学术关怀”；王国维、潘光旦、吴世昌等人是其代表。第三种是为社会政治服务的批评，它在社会矛盾尖锐的改良与革命年代发挥了文学的意识形态批判作用，体现了批评的“社会关怀”；由于偏重于作品社会政治意义的引申发挥，批评很难在审美的层次上展开；钱杏屯阝。
Abstract This paper discusses three major types of literary criticism in China in the first half of the 20th century from the perspective of the functions of criticism. The first type of criticism focuses on literary works proper. The critics analyze literary works with their own experience, wisdom and passion and activate the intelligence in the works through a poetic expression of their critical response towards them. It is art-oriented criticism, with Lu Xun, Li Jianwu and Hu Feng as its representatives. The second type aims at an independent cultural value. The critics attempt to dig out the philosophical, sociological, ethic, psychological and linguistic significance that may exit in the works. They employ all western literary approaches and try to push forward the transformation of Chinese literary criticism. It is learning-oriented criticism, with Wang Guowei, Pang Guangdan and Wu Shichang as its representatives. The third type serves politics. It does work in the ideological sphere during periods of sharp political struggles but does not function well aesthetically. It is society-oriented criticism, with Qian Xingchun and Zhou Yang as its representatives.
出处
《华中师范大学学报（人文社会科学版）》
CSSCI
1998年第6期96-103,143,共9页
Journal of Central China Normal University:Humanities and Social Sciences
基金
中华社会科学基金
