试论文学主体间性的基本内容和主要表现形式

发布时间：2018-06-11 11:15

本文选题：主体间性 + 自由　；参考：《西北师范大学》2008年硕士论文

【摘要】： 当代主体间性美学和文学是以西方主体间性美学和华夏古典主体间性美学为理论资源、并以主体性美学和文学作为基础和出发点逐步发展起来的,这是由美学和文学自身的发展规律所决定的,也是现代人精神生活的迫切需要。 “主体间性”,即先有“主体”,再有“间性”。“主体”,不光指自我主体,而且指自我主体之外树立的其他主体,即创作和阅读中文本和文本对象应被给予的主体地位,这是主体间性文学区别于主体性文学的本质所在;“间性”,一般指外部的主体间性,也就是创作主体、文本对象主体和欣赏主体之间的自由对话关系。文学主体间性的基本内容包括:(一)文学主体间性的“自由”,这是文学主体间性的前提。(二)文学主体间性的审美“生成”,没有生成,就没有主体间性。(三)文学主体间性的审美超越性,真正的美在于其超越性,从有限到无限,从自我到他人。(四)文学主体间性的“诗之语言”,文学主体间性归根结底开启于语言的主体间性,“诗之语言”扮演着重要角色。文学主体间性依据作者和故事之间的关系可以大致分为两种主要表现形式:沉默/展示式和节制/讲述式。沉默/展示式中的表现主义小说较之于自然主义小说而言,更典型集中地体现了沉默/展示式文学的主体间性审美特色,从柏拉图谈作家创作的“迷狂说”到作家营造的迷狂的世界,再到欣赏者求解而不得的审美迷狂,由迷狂为桥梁搭起的主体之间的对话由内部向外部、由浅层到深层、从过去到现在,从没中断过,并直指未来。关于节制/讲述式,笔者以巴尔扎克为例来谈与其叙述方式相应的节制式主体间性审美特色,并且,巴尔扎克所具有的“第二视力”使他成为与未来对话的作家。最后,谈到丧失主体间性审美关系的霸权式文学,这是审美的荒漠地带。
[Abstract]:Contemporary intersubjectivity aesthetics and literature are developed gradually with western intersubjectivity aesthetics and Chinese classical intersubjectivity aesthetics as theoretical resources and subjective aesthetics and literature as the basis and starting point. This is decided by the development law of aesthetics and literature itself, and is also the urgent need of modern people's spiritual life. "intersubjectivity" means that there is "subject" first, then "intersubjectivity". "subject" refers not only to the self-subject, but also to other subjects set up outside the self-subject, that is, the subject status that should be given to the creation and reading of the Chinese text and the text object, which is the essence of the difference between the inter-subjectivity literature and the subjective literature. Intersubjectivity "generally refers to the external intersubjectivity, that is, the free dialogue between the creative subject, the text object subject and the appreciative subject." The basic content of the intersubjectivity of literature includes the freedom of the intersubjectivity of literature, which is the premise of the intersubjectivity of literature. (2) the aesthetic "generation" of the intersubjectivity of literature, without which there is no intersubjectivity. (3) the aesthetic transcendence of literary intersubjectivity lies in its transcendence, from finite to infinite, from self to others. (4) the "language of poetry" of the intersubjectivity of literature, which in the final analysis is open to the intersubjectivity of language, plays an important role. According to the relationship between the author and the story, the intersubjectivity of literature can be divided into two main forms: silence / display and temperance / narration. Compared with the naturalistic novels, the expressionist novels in the silence / display style embody the inter-subjectivity aesthetic characteristics of the silence / display literature more typically and centrally. From Plato's theory of "fanaticism" to the world of ecstasy created by the writer, to the esthetic maniac that the appreciator can't solve, the dialogue between the subjects built by the ecstasy as a bridge is from inside to outside, from shallow to deep. From the past to the present, never stopped, and pointed to the future. As for restraint / narration, the author takes Balzac as an example to talk about the aesthetic characteristics of the intersubjective system corresponding to Balzac's narrative style. Moreover, Balzac's "second vision" makes him a writer who talks with the future. Finally, the hegemonic literature, which loses the aesthetic relationship between subjects, is the desert of aesthetics.
【学位授予单位】：西北师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I02

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