本文選題：文學(xué)理論建構(gòu) + 文化��； 參考：《山東大學(xué)》2010年博士論文

【摘要】： 一、總體考慮 當(dāng)前,文學(xué)理論建構(gòu)的參照域是多譜系的。有的側(cè)重從認(rèn)識(shí)論角度開(kāi)展,有的側(cè)重反映論,有的側(cè)重實(shí)踐論；有的側(cè)重史學(xué)視野,有的側(cè)重人學(xué)視野,有的側(cè)重美學(xué)視野；有的站在本土的立場(chǎng),有的借鑒西方理論話(huà)語(yǔ)體系；有的則主張多角度、多視域的調(diào)和創(chuàng)新,等等。其中提出從文化角度、藝術(shù)審美角度進(jìn)行理論建構(gòu)的亦大有人在。但,統(tǒng)觀之,對(duì)文學(xué)理論與文化、藝術(shù)關(guān)系的闡釋多是概念化、淺層化的,或文化與藝術(shù)是其理論的常態(tài)內(nèi)容之一,沒(méi)有或很少觸及到文化的價(jià)值系統(tǒng),亦很少?gòu)奈幕瘍r(jià)值系統(tǒng)變化的角度考慮其與文學(xué)理論的內(nèi)生關(guān)系,盛行的文化研究基本上是西方話(huà)語(yǔ)體系內(nèi)的方案。而文學(xué)理論對(duì)藝術(shù)因素、藝術(shù)標(biāo)準(zhǔn)的研究、堅(jiān)持亦在不同時(shí)期呈現(xiàn)出不同的狀態(tài)。本論文從系統(tǒng)的視野出發(fā),回歸文學(xué)及其理論發(fā)展的本真,從對(duì)文學(xué)理論與文化、藝術(shù)關(guān)系的演進(jìn)考察出發(fā),揭示分析文學(xué)理論在不同時(shí)期與文化、藝術(shù)關(guān)系的特征、變化及其內(nèi)在決定因素,在此基礎(chǔ)上展開(kāi)以文化、藝術(shù)為主要維度的文學(xué)理論建構(gòu)思考,提出了以文化、藝術(shù)為主要參照坐標(biāo)的文學(xué)理論建構(gòu)的初步設(shè)想。 二、論文結(jié)構(gòu)及主要內(nèi)容 本論文共有導(dǎo)論及第一至第五章。 導(dǎo)論亦是正文的重要補(bǔ)充,主要是對(duì)正文涉及的文化、藝術(shù)兩個(gè)重要概念進(jìn)行界定及,進(jìn)一步明確其內(nèi)涵。文化方面：從價(jià)值體系出發(fā),更看重文化的系統(tǒng)性、民族性、整體性,以及其對(duì)群體的恒久的軟體影響。藝術(shù)方面：更注重從藝術(shù)品的精神獨(dú)創(chuàng)性、審美獨(dú)立性出發(fā)來(lái)理解藝術(shù)的本質(zhì),并延伸至文學(xué)。在對(duì)兩個(gè)概念進(jìn)行界定的基礎(chǔ)上,對(duì)文學(xué)理論的發(fā)展進(jìn)行快速掃描,論證了文化、藝術(shù)兩個(gè)因素在文學(xué)理論發(fā)展歷史過(guò)程中的重要關(guān)聯(lián)性。之后,對(duì)文學(xué)理論與文化、藝術(shù)的基本關(guān)系,以及與文學(xué)補(bǔ)充性關(guān)系進(jìn)行了解讀,提出了本論文綱領(lǐng)性的主旨思路。 第一章主要通過(guò)對(duì)文化傳統(tǒng)與古代文論演進(jìn)關(guān)系的分析,勾畫(huà)出文學(xué)理論與文化、藝術(shù)關(guān)系的古典形態(tài)及其總體特征,以及對(duì)現(xiàn)代文學(xué)理論發(fā)展的重要啟示。文學(xué)理論與文化、藝術(shù)的關(guān)系在中國(guó)古代具體表現(xiàn)為文化傳統(tǒng)與古代文論、藝術(shù)傳統(tǒng)的關(guān)系,其主要特征是：以文化傳統(tǒng)的強(qiáng)勢(shì)規(guī)約為主要表征,中國(guó)“載道”的文化傳統(tǒng)使與史、哲等學(xué)科區(qū)分不清晰的古典文學(xué),以詩(shī)話(huà)為主要形態(tài)的古代文論,傳統(tǒng)藝術(shù)認(rèn)識(shí)三者均成為傳達(dá)文化核心價(jià)值的教化載體,文論的發(fā)展總體上在這一大的背景下進(jìn)行。文化的強(qiáng)勢(shì)地位雖然限制了文學(xué)與文論相對(duì)自由的發(fā)展,但是卻衍生出與文化內(nèi)質(zhì)相符合的具有獨(dú)特審美氣質(zhì)與美學(xué)境界的中國(guó)文學(xué)與藝術(shù),以及與此相關(guān)聯(lián)的古代文論。古代文論與主導(dǎo)文化傳統(tǒng)的內(nèi)生關(guān)聯(lián)是其保持本土化、常態(tài)化發(fā)展的重要保證,并以自己獨(dú)具特色的詩(shī)話(huà)語(yǔ)言體系發(fā)揮著對(duì)古典文學(xué)的闡釋、引導(dǎo)等文學(xué)理論的恒常作用,這是文學(xué)理論與文化、藝術(shù)關(guān)系古典形態(tài)分析的現(xiàn)代啟示。 第二到第四章大致為一個(gè)整體,主要是對(duì)晚清至二十世紀(jì)以來(lái)現(xiàn)代文學(xué)理論與文化、藝術(shù)關(guān)系的發(fā)生、建立、發(fā)展過(guò)程進(jìn)行文化與藝術(shù)特定視域的考察,描述其主要演進(jìn)狀態(tài)及特征。 第二章主要考察1840至1919年中國(guó)社會(huì)發(fā)生現(xiàn)代性轉(zhuǎn)型的關(guān)鍵時(shí)期內(nèi),文學(xué)理論與文化、藝術(shù)關(guān)系所發(fā)生的現(xiàn)代轉(zhuǎn)型。文化方面：主要是西方文化的大規(guī)模引進(jìn),導(dǎo)致傳統(tǒng)文化硬體解體,并由于西學(xué)的強(qiáng)盛使來(lái)自西方的現(xiàn)代意識(shí)一度成為中國(guó)社會(huì)的主流文化價(jià)值；藝術(shù)(文學(xué))方面：主要是現(xiàn)代西方藝術(shù)認(rèn)識(shí)的引入、確立,以及以白話(huà)文學(xué)為主體的新文學(xué)在傳統(tǒng)雜文學(xué)體系中的分離、萌生及發(fā)展；文學(xué)理論方面：主要是伴隨西方文化價(jià)值引入,參照西方理論范式初步建立起中國(guó)現(xiàn)代文學(xué)理論形態(tài)。文學(xué)理論與文化、藝術(shù)關(guān)系亦隨三個(gè)要素各自的轉(zhuǎn)型而完成現(xiàn)代性調(diào)整。但是由于處在發(fā)生期,文學(xué)理論與文化、藝術(shù)三要素并沒(méi)有迅速建立起有機(jī)的聯(lián)系。這一時(shí)期,在西學(xué)東漸籠罩下,由西方文化價(jià)值輸入、確立而引起的文學(xué)理論、文學(xué)、藝術(shù)的現(xiàn)代轉(zhuǎn)型是文學(xué)理論與文化、藝術(shù)關(guān)系演進(jìn)的主要特征。 第三章把1919至2000年作為一個(gè)整體考察。其中,1919至1949年,是文學(xué)理論發(fā)展的奠基時(shí)期。其主要特征是西方文學(xué)理論資源持續(xù)引進(jìn),并與對(duì)中國(guó)新文學(xué)實(shí)踐的闡釋、批評(píng)相結(jié)合,不斷深入。其間,文學(xué)理論與文化、藝術(shù)關(guān)系的現(xiàn)代形態(tài)漸次建立,對(duì)現(xiàn)代文學(xué)理論的發(fā)展產(chǎn)生了較大的正面影響。1949至1978年,屬于當(dāng)代三十年,盡管“一元”語(yǔ)境特征突出,但是文學(xué)理論在學(xué)科建設(shè)、系統(tǒng)化、規(guī)范化等方面,尤其是馬克思主義文學(xué)理論的建設(shè)方面,取得了較大成績(jī)。文學(xué)理論與文化、藝術(shù)關(guān)系的演進(jìn)在此期間呈現(xiàn)相對(duì)“失語(yǔ)”狀態(tài),但是文學(xué)創(chuàng)作、評(píng)價(jià)的藝術(shù)標(biāo)準(zhǔn)始終沒(méi)有放棄。1978至2000年,是新時(shí)期前二十年,是二十世紀(jì)中國(guó)文學(xué)理論發(fā)展過(guò)程中輝煌的二十年。文化上：因經(jīng)濟(jì)發(fā)展帶來(lái)對(duì)物質(zhì)生活的極大向往,新一輪西學(xué)東漸由是發(fā)生,西方新的價(jià)值觀輸入,引起人們精神世界的巨大改變；藝術(shù)上：理論研究不斷拓展、深入,生發(fā)出美學(xué)、文藝美學(xué)等學(xué)科的發(fā)展壯大；文學(xué)上：以個(gè)體解放為表征的新時(shí)期文學(xué)蓬勃發(fā)展,主要以“尋根文學(xué)”、“傷痕文學(xué)”、“朦朧詩(shī)”等為代表；文學(xué)理論方面：與文化上的崇外相一致,參照西方理論的學(xué)術(shù)方式、邏輯體系等,推進(jìn)了中國(guó)文學(xué)理論的發(fā)展、創(chuàng)新,在理論認(rèn)識(shí)上、學(xué)理深度上均達(dá)到了很高的水平。但是對(duì)西方文論的過(guò)度依賴(lài)亦使建立本土化的文學(xué)理論面臨極難擺脫的學(xué)術(shù)習(xí)慣�？偟目�,由于社會(huì)經(jīng)濟(jì)文化均處于高速發(fā)展之中,文學(xué)理論與文化、藝術(shù)的關(guān)系極不穩(wěn)定,仍然沒(méi)有建立起類(lèi)似于古代的由文化傳統(tǒng)規(guī)約的穩(wěn)定形態(tài),而是以文化的沖突融合和藝術(shù)的自覺(jué)獨(dú)立為主線(xiàn),始終處在一個(gè)關(guān)系生成的探索之中。既有成績(jī),也有教訓(xùn)。 第四章以文學(xué)在新時(shí)期尤其是新世紀(jì)以來(lái)的境遇為對(duì)象,嘗試通過(guò)對(duì)其多角度的分析,描述出文學(xué)理論、文化、藝術(shù)內(nèi)涵的變化及其關(guān)系的新動(dòng)向。主要考察進(jìn)入新世紀(jì)后,以文學(xué)“泛文化”、審美泛化為突出代表的新趨勢(shì)給文學(xué)理論的發(fā)展帶來(lái)的新危機(jī)、新挑戰(zhàn)。作為重要文化載體的文學(xué),在新時(shí)期中國(guó)大眾文化興起后,自身存在狀態(tài)逐漸發(fā)生比較大的改變,并在新世紀(jì)隨著大眾文化的轉(zhuǎn)型,科技、傳媒的發(fā)展而逐漸產(chǎn)生不同于傳統(tǒng)范疇演變軌跡的劇烈變化,除一小部分大致仍然保持著傳統(tǒng)文學(xué)的狀態(tài),另一部分則呈現(xiàn)出“泛文化”的傾向,擴(kuò)大了傳統(tǒng)意義上文學(xué)的邊界,對(duì)文學(xué)的傳統(tǒng)生存模式帶來(lái)挑戰(zhàn)。作為文學(xué)理論主要研究對(duì)象的文學(xué)遭遇“泛文化”的巨大沖擊,引起文學(xué)理論與文化、藝術(shù)關(guān)系的連鎖不適反應(yīng),文學(xué)理論的“失語(yǔ)”、審美的“泛化”等問(wèn)題接踵而至,并在存在合法性、理論話(huà)語(yǔ)權(quán)等方面造成文學(xué)理論新的危機(jī)。文學(xué)理論重新建構(gòu)的命題及其使命感、緊迫感由此更加突出。 第五章是論文的核心,在前面四章所分析、揭示問(wèn)題的基礎(chǔ)上,以文化、藝術(shù)為主要參照維度,提出了文學(xué)理論建設(shè)的提綱性意見(jiàn),試圖在建立本土化、民族化,并具有現(xiàn)實(shí)性、時(shí)代性、實(shí)踐性品格的文學(xué)理論話(huà)語(yǔ)體系方面作出一些努力。從文化維度看,中國(guó)當(dāng)前的文化狀態(tài)是復(fù)雜多元的,文學(xué)理論只有在價(jià)值層建立了與主流文化形態(tài)相對(duì)應(yīng)的聯(lián)系,與其他輔助文化形態(tài)建立不同方式的聯(lián)系,才能有效解決理論的現(xiàn)實(shí)性、時(shí)代性、民族化問(wèn)題。論文對(duì)重建文學(xué)理論與文化關(guān)系必要性,以及如何建立、解決何樣的問(wèn)題等進(jìn)行了較詳細(xì)的解析。同時(shí),文學(xué)理論與文化關(guān)系的重新建立,亦是其對(duì)文化重建的反作用,是文學(xué)理論“載道”功能的現(xiàn)代性體現(xiàn),盡管內(nèi)涵已經(jīng)發(fā)生重大改變。從藝術(shù)維度看,倡導(dǎo)文學(xué)理論對(duì)文學(xué)的藝術(shù)本質(zhì)進(jìn)行具有回歸特征的重新確認(rèn),并給出符合時(shí)代發(fā)展特征的現(xiàn)代闡釋。同時(shí),既要對(duì)文學(xué)泛文化轉(zhuǎn)向、審美泛化等現(xiàn)象作出合理的解釋、科學(xué)的指引,維護(hù)藝術(shù)的主體性、學(xué)科的合法性,又要增強(qiáng)主動(dòng)性、敏感性,及時(shí)發(fā)現(xiàn)新的文化、技術(shù)語(yǔ)境下藝術(shù)因素、審美特征的新變化,對(duì)其發(fā)生的相對(duì)于傳統(tǒng)的種種變異、創(chuàng)新進(jìn)行解釋,并把對(duì)這一系列新事物的理性認(rèn)識(shí)內(nèi)化在理論中,使之知識(shí)化、邏輯化、體系化,形成新的理論創(chuàng)新。
[Abstract]:First, the overall consideration
At present, the reference domain of the construction of literary theory is multiple pedigree. Some focus on epistemology, some focus on the theory of reflection, some focus on practice, some focus on the view of history, some focus on the view of human science, some focus on the aesthetic field of view, some stand on the local standpoint, some draw lessons from the western theoretical discourse system, and some stand for many. Angle, multi view harmonization and innovation, and so on. Among them, the theoretical construction of the artistic aesthetic angle is also great. However, the interpretation of the relationship between literary theory and culture and art is mostly conceptualized, shallow, or culture and art is one of the normal contents of its theory, and not or rarely touches the price of culture. The value system also seldom considers the endogenous relationship with the literary theory from the angle of the change of cultural value system. The popular cultural research is basically the scheme in the western discourse system. The study of the artistic factor and the art standard is also different in different periods. The truth of the development of literature and its theory, from the evolution of the relationship between literary theory and culture and art, reveals the analysis of the characteristics, changes and internal determinants of literature theory in different periods with culture and art, and on this basis, to think about the construction of literature theory with culture and art as the main dimension, and put forward the culture of literature. Art is the primary idea of constructing literary theory as the main reference frame.
Two, the structure and main content of the paper
This paper has an introduction and the first to fifth chapters.
Introduction is also an important supplement to the text, which is mainly to define the two important concepts of culture and art involved in the text, and to further clarify its connotation. Cultural aspects: from the value system, more emphasis is placed on the systematic, ethnicity, and integrity of culture, as well as its persistent soft influence on the group. The spiritual originality and aesthetic independence start to understand the essence of art and extend to the literature. On the basis of the definition of the two concepts, the development of literary theory is scanned quickly, and the important relevance of the two factors of culture and art in the historical process of the development of literary theory is demonstrated. The basic relationship and the complementary relationship with literature have been interpreted, and the guiding idea of this paper has been put forward.
The first chapter, mainly through the analysis of the relationship between the cultural tradition and the ancient literary theory, outlines the classical form and its overall characteristics of the relationship between literature theory and culture, the relationship of art, and the important enlightenment to the development of modern literary theory. The main characteristics of the traditional relationship are: the cultural tradition of the cultural tradition is the main characterization. The cultural tradition of "carrying the Tao" in China makes the classical literature distinguished from the history, the philosophy and other disciplines, and the ancient literary theory with the poetry as the main form. The three people of traditional art have become the teaching carrier to convey the core value of the culture and the development of the literary theory. In this big background, the strong position of culture has limited the relative freedom of literature and literary theory, but it derives Chinese literature and art with unique aesthetic temperament and aesthetic realm, as well as the ancient literary theory associated with it, ancient literary theory and dominant cultural tradition. Endogenous relevance is an important guarantee for its localization and normalization, and its interpretation of classical literature and the constant role of literary theory with its own unique poetic language system. This is the present inspiration of the classical form analysis of literary theory and culture and the relationship of art.
The second to fourth chapters are roughly a whole, mainly on the investigation of the specific field of culture and art of the modern literature theory and culture, the establishment and development of modern literary theory and culture, and the development process since the twentieth Century, describing the main evolution and characteristics of the modern literature.
The second chapter mainly examines the modern transformation of the relationship between literary theory and culture and art in the critical period of the transformation of modernity in Chinese society from 1840 to 1919. The mainstream cultural value of Chinese society; Art (Literature): the introduction, establishment of modern western art and the separation, initiation and development of the new literature based on Vernacular Literature in the traditional system of miscellaneous literature; the literary theory is mainly accompanied by the introduction of the Western cultural values and the initial reference to the Western theoretical paradigm. The theoretical form of modern Chinese literature is established. The relationship between literature theory and culture and art is also adjusted with the transformation of the three elements. However, in the period of occurrence, the three elements of literature theory and culture and art have not established an organic connection quickly. In this period, the western culture has been shrouded in the western learning and the Western cultural value is lost. The modern transformation of literary theory, literature and art that is established and established is the main feature of the evolution of literary theory and culture and art relations.
The third chapter takes the 1919 to the 2000 as a whole study. Among them, from 1919 to 1949, it is the foundation of the development of literary theory. Its main feature is the continuous introduction of the western literary theory resources, and the combination of the interpretation and criticism of the new literature practice in China. In the meantime, the modern form of the relationship between literature theory and culture is gradually built. Erect has a great positive influence on the development of modern literary theory, which belongs to the thirty years from.1949 to 1978. Despite the prominent features of the "one yuan" context, literary theory has made great achievements in the construction of discipline, systematization and standardization, especially in the construction of Marx's literary theory. Literary theory and culture, The evolution of the relationship of art presents a relatively "Aphasia" state during this period, but the artistic standards of literary creation and evaluation have never given up.1978 to 2000. It is the first twenty years of the new period and the brilliant twenty years in the course of the development of Chinese literary theory in twentieth Century. A round of Western learning has taken place, and the new values of Western values have brought about great changes in the spiritual world. In art, theoretical research has been expanding, deepening, giving birth to aesthetic, literary and artistic aesthetics and other disciplines. In literature, the new time literature characterized by individual liberation is flourishing, mainly "root seeking literature", " "Scar Literature", "hazy poetry" and so on as the representative; literary theory: consistent with the culture and the reference to the western theory, the logic system, and so on, promote the development of Chinese literary theory, innovation, in theoretical understanding, the academic depth has reached a very high level. But the excessive dependence on Western literary theory also made the construction of the theory. As a result of the rapid development of social economy and culture, the relationship between literary theory and culture and art is extremely unstable, and the stable form of cultural tradition is still not established, but the fusion of cultural conflicts and the self-consciousness of art. Independence is the main thread and is always in the exploration of a relationship. It has both achievements and lessons.
The fourth chapter, based on the situation of literature in the new era, especially in the new century, tries to describe the changes in literary theory, culture, artistic connotation and the new trend of its relations through its multi angle analysis. As an important cultural carrier, literature, as an important cultural carrier, has gradually changed the state of its own existence after the rise of mass culture in the new period. In the new century, with the transformation of mass culture, science and technology and the development of the media, there is a gradual change in the evolution of the traditional category, with the exception of a small part. It still maintains the state of traditional literature, and the other part presents the tendency of "Pan culture", which expands the traditional meaning of literature and challenges the traditional mode of existence of literature. Literature, the main object of literature, has a great impact on "Pan culture", which causes literary theory, culture and art. The chain discomfort reaction, the "Aphasia" of literary theory, and the "generalization" of aesthetics have followed, and the new crisis of literary theory in the existence of legitimacy and theoretical discourse power. The proposition and sense of mission of the re construction of literary theory are more prominent.
The fifth chapter is the core of the thesis. On the basis of the analysis of the previous four chapters and on the basis of revealing the problems, the outline of literature theory construction is put forward with culture and art as the main reference dimension. It tries to make some efforts in the literary theory discourse system of establishing localization, nationalization, and realistic, epochal and practical character. The current cultural state of China is complex and pluralistic. Only in the value layer, the literary theory has established the relative relation with the mainstream culture form, and the establishment of different ways of connection with other auxiliary culture forms can we effectively solve the theory's reality, the times, the problem of the people nationality. The thesis reconstructs the relationship between the literature theory and the culture. At the same time, the re establishment of the relationship between literary theory and culture is also the reverse of cultural reconstruction. It is the modernity embodiment of the "Dao" function of literary theory, although its connotation has been greatly changed. From the perspective of art, the theory of literature is advocated. The artistic essence of literature is reconfirmed with regressive features and a modern interpretation that meets the characteristics of the development of the times. At the same time, it is necessary to make a reasonable explanation of the phenomenon of literary pan cultural turn, aesthetic generalization, scientific guidance, the maintenance of the subjectivity of the art, the legitimacy of the discipline, and the enhancement of initiative, sensitivity and timely discovery. The new changes in art and aesthetic characteristics in the context of culture and technology are interpreted in relation to the traditional variations and innovations, and the rational knowledge of this series of new things is internalized in the theory to make it knowledgeable, logically and systematized, and to form new theoretical innovations.

【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：I0

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 張杰;太極拳在美國(guó)的傳播及文化影響[D];北京體育大學(xué);2012年

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本文編號(hào)：1804330