【作者】 陈颖；

【导师】 王春荣；

【作者基本信息】 辽宁大学 ， 文艺学， 2009， 博士

【摘要】 该文以特定历史文化语境中的批评家钱钟书及其批评文本为考察对象,综合时代现实与个人际遇、成长环境与主体条件、纵向承继与横向借鉴、创作影响与理论互动等多重因素,系统研究钱氏文学批评理论的思想理路、学术渊源、生成机制、理论内涵、体系架构、理论个性以及学术贡献等相关问题。首先历时性地展现钱钟书文学批评思想由探索、发展到成熟的整个演进理路,并从发生学的意义上深入探讨其思想得以形成的人文根基;然后深入到钱氏文学批评理论的潜在生成语境——“对话”之中,揭示出它的多重内蕴及其内在的文化诉求;继而从共时性的角度出发,采用现代文论的逻辑结构与话语范式,对散见于钱氏批评文本中的理论观念进行细致地梳理与阐析,寻绎出钱氏完整的、自成一脉的文学批评理论体系;最后,通过多维视角的观照与现代意味的审视,客观全面地阐发出钱氏文评思想的理论个性与学术贡献。该文认为,20世纪中西融通的时代氛围的濡染,浩博厚重的钱家家学“文化群落”与会通中西的清华“文化群落”的双重熏陶,伯父与父亲双重养育的特殊成长环境,这一切外在动因与钱氏自身已然而存的天性禀赋相汇,造就了痴气盎然又变易不居的批评家钱钟书,也形成了他思想中具有人本主义倾向的“对话”精神。这一精神贯穿于钱钟书所有的批评著述。在他的批评世界中,来自不同文化、不同语境下的批评主体、创作主体、接受主体,在中西淹博浩瀚的现象话语空间内,围绕着“谈艺”的主题,展开了自由平等的“对话”。作为“主持人”的他则本着“通观一体”的基本精神以及“和而不同”的对话原则,将各种声音沟通、比较、互补、参映,在打通古与今、中与西、雅与俗、各学科、各时代、各文体、各流派等各种各样的疆域界限的基础之上,提升出具有人类文化普遍意义而又不失独创性的文学批评理论。从运行机制上看,这种“对话”语境中的理论生成主要从三个层面上展开:比较互证——融化互补——创新转化,由低层面跃为高层面的逻辑必然,体现出现象学研究范式与逻辑学研究范式的完美结合。在“对话”语境中生成的钱氏文学批评理论在随意性的外表之下隐藏着现代性的理论体系架构,在微观的现象研究背后深蕴着对文学宏观的“圆照周览”,体现出随机偶然性与系统理论性、现象与逻辑的二律背反。它以文学批评活动作为出发点及归宿点,将文学本体批评论、创作规律批评论、文学文本批评论以及文学鉴赏批评论这四大板块统辖起来,在审美与现实、微观与宏观、感性与理性、主观与客观的交互映照下,动态地呈现出一幅博大精深的文学批评理论体系的立体图景。这一“隐性”的批评理论体系自由、平衡、协调、互动、开放,超越了传统的作者意图论、形式结构论和读者建构论等片面的批评理论,克服了内部研究与外部研究的对立,是一种整体化、综合性、全方位的理论研究。它以现实人生为研究根基,以“游心”为基本旨趣,以“解构”为外在表征,以“圆”为内在美质,兼有学理追求与个性诗情、兼具人文关怀与唯美倾向、杂糅严谨庄重与戏谑叛逆、融汇博大厚重与细腻灵动,体现出了一种开放、兼容的学术胸襟与气魄,也体现出了对一种积极的人文精神的求索:向往自由、尊重个性、崇尚人格、矢志创造、平等参与、不卑不亢,熔铸着钱钟书独有的精神个体性。在批评理论多元杂陈的言说景观中,钱钟书以圆通灵动又稳健踏实的理论立场与研究范式,将中国传统文学批评理论与西方现代文学批评理论融会贯通,既强调异质理论话语之间的“奇缘佳会”,不断汲取各种理论营养,同时又注重理论自身富有创造性的运化与提升;既消除了不同理论之间的樊篱与沟壑,克服了中西文学批评理论难于“对话”的话语困境,实现了中西平等的双向阐发,同时也在激活本土传统话语资源的基础上,建构起了一套传统与现代相结合的“中国式”的文学批评理论体系,从而在更高的层次上获得了全新的超越。这一研究不但以多向度的超越丰富和发展了中西文学批评理论,而且也以自身充满了自由精神的个性化研究风采以及开阔、兼容的“大文化”研究视野,改变了中国传统学术较为封闭、单一的研究范式,代表了二十一世纪学术研究向开放性、多元性、综合性方向发展的大趋势。因而,它无论对于我国传统文学批评理论的现代转型还是当下的学术研究都具有重要的启示与借鉴意义。更多还原

【Abstract】 The critic Qian Zhongshu and his critical texts are taken as investigation objects in the thesis, the reality of times and personal fortunes, the growing-up environment and subject conditions, longitudinal inheritance and latitudinal reference, creation influence and theoretical interaction and multiple factors are synthesized, a systematic study is made on the thought lines, academic origins, generation mechanism, theoretical connotations, system framework, theoretical personality and academic contributions and relevant issues concerning the literary critical theory of Qian Zhongshu.First of all, the whole evolvement process of Qian Zhongshu’s literary critical thought from exploration and development to maturation are diachronically displayed, and in-depth discussion is made on the humanistic foundation to the formation of the thought from the perspective of originology; then the potential generation context of Qian Zhongshu’s literary critical theory is further studied—“dialogue”, and its multiple intrinsics and its inherent cultural intentions are revealed; then the logic structure and discourse paradigm are employed from the synchronic perspective, for delicate grooming and illustration of the theoretical concepts in some theoretical concepts of Qian Zhongshu’s critical texts, and a complete and independent theoretical system of Qian Zhongshu is explored; finally, the theoretical personality and academic contributions of Qian Zhongshu’s critical thought are objectively and comprehensively illustrated through multidimensional perspective observation and modern scrutinizing.The author considers that under the influence from the epoch atmosphere of integration of Chinese and foreign culture in the 20th century, double edification from the profound Qian’s family“cultural community”and the Tsinghua university“cultural community”of Chinese and western meeting, and the special growing-up environment between father and uncle, all these external motives merge with the endowments of Qian Zhongshu, which bring up the aggressive but sophisticated critic Qian Zhongshu, and form the“dialogue”spirit with humanistic trend in his thought.This spirit penetrates all the critical works of Qian Zhongshu, in his critical world, the critical subject, creation subject and reception subject from different cultures in the discourse space with immense Chinese and western cultures, the free and equal“dialogue”is performed centering with the theme of“discourse art”. As the“emcee”, he communicates, compares, complements and reflects the basic spirit of“integrated observation”and the discourse principle of“harmonious but different”, and elevates the literary critical theory with common sense of human being culture but without losing the originality on the basis of connecting the ancient and the contemporary, the Chinese and the western, the elegant and the vulgar, and the various territory boundaries between various subjects, various epochs, various styles and various schools, etc. From the perspective of operation mechanism, the theoretical generation in such“dialogue”is mainly undertaken from three levels: comparative mutual proof—integrated complementation—innovative transformation, the logic necessity from lower level to the higher level, and the perfect combination between the study paradigm of phenomenology and the study paradigm of logic is embodied.The modern theoretical system framework is hidden behind the randomness appearance of Qian’s literary critical theory, the macroscopic“perimeter appreciation”on literature is hidden behind the microscopic phenomenon study, and the antinomy between random contingency and systematic theoretics, phenomena and logic is embodied. The literary critical activities are considered as its starting point and ending point, the literary ontology criticism, the literary text criticism and literary appreciation criticism, these four blocks are unified, and a broad and profound three-dimensional picture of literary critical theory system is dynamically displayed under the interactive reflections of taste and reality, microcosmic and macroscopic, sensibility and sense, subject and object.This“hidden”critical theory system is free, balanced, harmonious, interactive, open, and has exceeded the traditional intentions of authors, formalism and structuralism, reader construction and other unilateral critical theory, it has conquered the opposition between the internal study and external study, it’s an integrated, comprehensive, and all-round theoretical study. It takes the actual life as the basis of study, with the basic objective of“mental wanderings”, with the“deconstruction”as the external token, with the“circle”as the inherent essence of beauty, with both academic pursuit and personality poetics, with both humanistic concerns and aesthetics trend, with a mix of preciseness, sobriety and jocosity and rebellion, with the integration of profoundness and delicacy, an open and compatible academic bosom and verve is embodied, and an exploration on active humanistic spirit is also embodied; yearning freedom, respecting personality, upholding character, persisting in creation, equal participation, be neither humble nor pushy, with the unique individual spirit of Qian Zhongshu.Among the diversified and indiscriminate critical theory world, Qian Zhongshu digests the traditional Chinese literary critical theories and the western literary critical theories in a flexible and robust theoretical standpoint and study paradigm, both highlights the“lucky chance coincidence”between the heterogeneous theoretical discourses, constantly derives various theoretical nutritions, and pay attention to the employment and improvement of self creation; he has both eliminated the fences and gullies between different theories, and conquered the discourse dilemma between Chinese and western literary critical theories-“dialogue”difficulty, has realized the bidirectional elucidation of Chinese and western equality, meanwhile, he has constructed a set of literary critical theoretical system integrating traditional and modern, therefore, has obtained a brand-new surmount on a higher level. This study not only enriches and develops the Chinese and western literary critical theories with diversified surmount, but also changes the closed and single study paradigm of the traditional Chinese learning through individualized study demeanour and broad and compatible“big culture”study field of vision, and represents the major tendency of the academic research in the 21st century toward openness, multilaterality, and comprehensiveness. Therefore, it has significant revelations and references on the modern transformation of the Chinese literary critical theory and the contemporary academic research.更多还原