摘要
俄国形式派的关键性批评概念“陌生化”和《文心雕龙》中的“隐”和“奇” ,在涉及创作论、文学史观、文学自身形式演化等方面有颇多共通之处。从创作论角度出发 ,两者都强调文学语言形式的扭曲变形以达到或“阻滞”、“延缓” ,或“曲意幽隐”的审美效果 ,同时反对文学创作的习套化 ,并从文学体裁、技巧手法等形式因素的历史成因中去整体把握文学发展史的演进轨迹。其间所呈现出的一些差异 ,也都有着各自不同的诗学背景上的原因。
As a key critical term, defamiliarisation embodies the bulk of Russian formalism's theory of literary production and literary history. In this article, it is found to be sharing pretty much in common with Liu Xie's so called yin and qi. The author holds that the three critical terms all speak highly of ″roughened″, ″retarded″, or ″ambiguous″ aesthetic effects produced by warping and twisting the linguistic form in order to bring about a deautomization of literary perception, and, that they are all employed, mainly, to help clarify the historical evolution of literature by delineating a historical trajectory along which different historically occasioned literary forms, genres and techniques develop and transform themselves. Theoretical and critical differences existing between defamiliarisation, yin and qi are also discussed against separate poetic backgrounds.
出处
《外国文学研究》
CSSCI
北大核心
2004年第3期124-130,共7页
Foreign Literature Studies
