文学研究术语“文学范式”何以可能？

发布时间：2018-01-19 16:02

本文关键词： 文学范式范式理论哲学基础汉语思维　出处：《四川师范大学》2011年硕士论文　论文类型：学位论文

【摘要】：“文学范式”是当今学界在文学研究中较为通行的术语。这一术语的出现,是当代学界对西方理论译介的结果。因此,“文学范式”这一术语既具有西方哲学的内涵,又具有中国方法论的特色。但在对这一术语的具体运用中,稍加考察便可以发现对它的使用具有一种众说纷纭的状况。这一状况的存在,表明我们对文学理论术语缺乏相应的反思。任何一个理论术语都必须具有相应的意义规定和适用范围,否则,对理论术语的随意生造和使用,会掩盖理论发展的线索和深度。有鉴于此,本文试图考察“文学范式”这一术语的来龙去脉和哲学基础,希望以此作为深入地思考当代中国文艺理论建构的契机。本文共分为四章。第一章通过对库恩“范式理论”的哲学基础梳理和考察,来指出“范式理论”能够在不同学科之间移植使用的理论依据何在。第二章则考察姚斯在接受美学的相关理论中对库恩“范式理论”的借鉴和发挥,以及我国学界对接受美学的译介,促成了“文学范式”这一术语的形成。第三章通过分析接受美学和范式理论的共同性,并引入哲学解释学作为第三方参照系,由此说明接受美学和范式理论在理论基础上的一种隐含的一致:既建立在哲学解释学对语言问题的讨论和认识,又建立在一种全新的历史观念上。第四章则专门探讨“文学范式”这一术语所蕴含的汉语思维。通过西方思维和汉语思维的比较,指出“文学范式”这一术语形成的内在机制,实际上是我国学界对西方理论作出的反应,这是当代中国文学理论建设的必由之路。但无论如何,这种建构都不能以忽略理论自身的局限性和适用性为代价。因此,只有从对理论术语的历史渊源进行溯源探讨,并对其哲学基础保持一种敏锐的反思,我们才能认识清楚这一局限性所在。这一局限性的存在不是片面的、孤立的。因为这一局限性也许恰恰就是我国文学理论的特色所在,只不过长期以来被西方文论的影响和传播掩盖了而已。
[Abstract]:"Literary Paradigm" is a relatively common term in literary studies. The emergence of this term is the result of the translation of Western theories by contemporary scholars. The term "literary paradigm" has not only the connotation of western philosophy but also the characteristics of Chinese methodology. After a little investigation, we can find that there are different opinions about the use of it. This situation exists. It shows that we lack the corresponding reflection on the literary theoretical terms. Any theoretical term must have the corresponding meaning and scope of application, otherwise, the random creation and use of the theoretical terms. In view of this, this paper attempts to examine the origin and philosophical basis of the term "literary paradigm". Hope to take this as an opportunity to think deeply about the construction of contemporary Chinese literature and art theory. This paper is divided into four chapters. The first chapter combs and inspects the philosophical basis of Kuhn's Paradigm Theory. To point out that "paradigm theory" can be transplanted between different disciplines of the theoretical basis. The second chapter is to examine Yao in the reception aesthetics in the relevant theory of Kuhn's "paradigm theory" reference and play. The translation of reception aesthetics in Chinese academic circles has contributed to the formation of the term "literary paradigm". Chapter three analyzes the commonality of reception aesthetics and paradigm theory, and introduces philosophical hermeneutics as a third party reference system. This explains the implicit consistency of reception aesthetics and paradigm theory on the basis of theory: it is based on the discussion and understanding of language in philosophical hermeneutics. Chapter 4th is devoted to the discussion of the Chinese thinking contained in the term "Literary Paradigm" and the comparison between Western thinking and Chinese thinking. It is pointed out that the internal mechanism of the formation of the term "literary paradigm" is actually the reaction of Chinese academic circles to western theories, which is the only way to construct contemporary Chinese literary theories. This construction cannot be done at the expense of neglecting the limitations and applicability of the theory itself. Therefore, only from the historical origin of theoretical terms to explore the origin, and its philosophical basis to maintain a keen reflection. We can understand this limitation clearly. The existence of this limitation is not one-sided, isolated, because this limitation may be precisely the characteristics of Chinese literary theory. It is only obscured by the influence and spread of western literary theory for a long time.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：I045

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