摘要
抗战时期李长之围绕古代诗人写下的系列批评论著,离不开美学的深度参与。“写实”与“浪漫”的对立、“古典”与“浪漫”的并立,作为文艺批评背后交错叠加的美学构造,为其文艺批评实践开拓了充足的理论空间。如果说对李白在道教徒和诗人双重身份拉扯下之永恒痛苦的分析,是基于对立构造写就的代表作,那么,对司马迁身上儒家精神、道家精神与诗人气质的阐发,则堪称融合对立与并立构造的新经典。
During the Anti-Japanese War,Li Changzhi's series of critical works written around ancient poets were inseparable from the deep involvement of aesthetics.The opposition between “realistic” and “romantic”,and the coexistence of “classic” and “romantic”,serve as the intertwined aesthetic structure behind literary criticism,opening up sufficient theoretical space for its literary critical practice.If the analysis of Li Bai's eternal pain under the dual identity of a Taoist and a poet is based on the representative work of opposition construction,then the elucidation of Sima Qian's Confucian spirit,Taoist spirit,and poet temperament can be regarded as a new classic that integrates the opposition and coexistence construction.
出处
《中国文艺评论》
CSSCI
2024年第5期30-41,125,126,共14页
China Literature and Art Criticism
基金
2021年度国家社科基金一般项目“‘作家纪念活动’与抗战时期左翼文学话语转型研究”(项目批准号:21BZW133)的阶段性成果
2023年度重庆大学中央高校基本科研业务费专项“中国现代美学与文艺批评互动机制研究”(项目批准号:2023CDJSKJC14)的阶段性成果。
关键词
李长之
抗战
古代诗人
浪漫
古典
写实
Li Changzhi
Anti-Japanese War
ancient poets
romantic
classic
realistic
