一个有价值的逻辑起点--文学文本多层次结构问题

现象学美学家茵伽登、英美新批评派的韦勒克、沃伦以及原型批评理论家弗莱,中国魏晋时期的文学理论家刘勰等,从不同的理论立足点,不约而同地聚焦于文学文本存在方式,或者从"层次"或者从"面面观"的角度相应得出文学文本是一个多层次结构、多侧面的构成.我们所珍视的不仅在于他们见解的相近,更在于他们的不同点.以此为基点,对文学批评理论的意义是第一,为文学批评从"多层次的立体结构"来全面动态地认识"文学性"开拓了思路.第二,文本多层次立体结构意味着划出了文本本体的边界,由于各个理论的相异,又表明了文学作品多层次的结构性存在是非本质的,所以艺术作品的存在本体是建构性的和开放性的.对于文学批评来说是一个有意义的前提.第三,确认多层次立体结构的文本存在方式,意味着拓宽了文学批评方法可以介入的空间,为多种方法在文学作品的各层次间进行对话和交往,形成批评话语的间性创造了条件.

A Valuable Logic Departure Point-On the Multilevel Structure of Literary Text

As if by prior agreement, the phenomenological aesthetician Roman Ingarden, the member of Anglo-American New Criticism Rene Wellek and the theoetician of Archetypal Criticism Northrop Frye, and Chinese literary critic Liu Xie of the Qi and Liang Dynasty all focused on the mode of existence o f literary text, though from different theoretical standpoints. They believed that literary text is of a multilevel or multi-aspect structure. Their differences, as well as their similarities, are valuable for our exploration for the following reasons: first of all, the multilevel structure means an all-sided understanding of literariness; secondly, the multilevel structre delimits the ontological boundary of literary text, and since the theories in question are heterogeneous, the multilevel structure of literatures must be inessential, open and constructive, which is a valuable precondition for literary criticism; and finally, the multilevel structure allows the dialogue between different methods and leaves new space for literary criticism.