【摘要】：19世紀(jì)后半葉,泰納創(chuàng)立了自己的文藝?yán)碚擉w系,其藝術(shù)三要素理論受到中外學(xué)者的廣泛重視,并在中國(guó)長(zhǎng)達(dá)半個(gè)世紀(jì)中不斷被譯介,其中20世紀(jì)二三十年代是譯介的高峰。中國(guó)學(xué)界或譯介與宣傳,或改造與吸收,或辨析與批判,由此使泰納的文藝?yán)碚撛谥袊?guó)產(chǎn)生深刻影響。同時(shí),由于泰納的文藝?yán)碚摯嬖谝恍﹪?yán)重局限,許多學(xué)者對(duì)其理論弊端進(jìn)行了嚴(yán)肅批判,試圖消除由此可能產(chǎn)生的消極影響。
[Abstract]:In the second half of the 19th century, Turner founded his own theory system of literature and art. His theory of three elements of art has received extensive attention from scholars at home and abroad, and has been translated and introduced continuously in China for half a century, of which the twenties and thirties of the 20th century are the peak of translation and introduction. Chinese academic circles either translate and introduce, or transform and absorb, or discriminate and criticize, thus making Tanner's literary and artistic theories have a profound influence in China. At the same time, due to the existence of some serious limitations in Tanner's literary and artistic theory, many scholars have seriously criticized his theoretical malpractice in an attempt to eliminate the possible negative impact.
【作者單位】： 浙江師范大學(xué)省高校人文社科重點(diǎn)研究基地;
【分類號(hào)】：I0
，

本文編號(hào)：2431005