摘要
作为中国现代文学史上一位有个性、有影响的批评家,李健吾一生的文学批评活动是极为矛盾和复杂的。他早期的文学批评以人性为基点,高扬文学独立自足的审美特性,文学批评方法以感悟、印象的批评方式为主,文体和形式上自由、洒脱,真正把批评本身变成了一种艺术。然而,到了1940年代,李健吾的文学批评越来越强调作品的社会属性以及阶级属性,印象式的批评方法也逐渐淡出。特别是建国后,他的文学批评更多地以政治审美代替了人性审美和艺术审美,导致其批评完全失去了早期的魅力,最终酿成了悲剧。由于各种原因,人们把李健吾文学批评研究的重点大多放在其早期阶段,而对其批评历程的历史演变关注不多,对其后期文学批评的悲剧成因更缺乏分析和反思。
As an influential critic in Chinese modem literary history, Li Jianwu＇s literary critical practice is extremely complex and contradictory. He soars the independence of literary aesthetics in his early critical period, taking the literary forms of appreciation and impression, his critical style is also free and unrestrained and unique, turning criticism itself into an art. Afterwards, his literary criticism focuses more on work＇s social attribute, even class attribute, literary critical type of impression gradually fades away, especially the literary criticism after the foundation of People＇s Republic of China which more or less carries a sense of tragedy, and in a way, it implies the fate of modem Chinese literary criticism. For various reasons, people study more on his early criticism and less on historic change of his literary style, so there is a lack of analysis and reflection on the reasons why his later criticism has a sense of tragedy.
出处
《社会科学》
CSSCI
北大核心
2014年第2期186-192,共7页
Journal of Social Sciences
基金
国家社科基金项目"京派文学与中国现代都市文化空间关系研究"(项目批准号:13BZW110)的阶段性成果
