马克思主义文学反映论在20世纪90年代的拓展与突破
作者简介:张永清，中国人民大学文学院教授（北京 100872）
摘要: 1990—1999年是马克思主义文学反映论的拓展与突破阶段。研究者对反映论与主体论、生产论、价值论之间的关系，文学的认识性与审美性的关系以及文学的审美意识形态性等文学反映论基本问题作出了新理解；对文学反映论新理论命题存在的突出问题进行了理论反思、学理批判。王元骧于1993年开拓出了马克思主义文学反映论的实践偏向新理论路径。童庆炳于1999年提出了马克思主义文学反映论的新论断即文学审美反映论、审美意识形态论是文艺学的第一原理。新中国马克思主义文学反映论存在着三次较为显著的理论偏向：其中的“实践偏向”发生在拓展与突破阶段，其他两次分别是“确立与巩固期”的“认识偏向”，“恢复与反思”以及“发展与深化”阶段的“审美偏向”。马克思主义文学反映论在拓展与突破阶段还存在着对文学审美反映论与文学审美意识形态论的关系重视不够，以及对实践意涵以及实践与认识、审美三者关系的理解与把握还缺乏必要的理论自洽、系统化等突出问题。
The Expansion and Breakthrough of Marxist Literary Theory of Reflection in the 1990s
- Available Online:
2022-03-20
Abstract: The period from 1990 to 1999 is the expansion and breakthrough stage of Marxist literary theory of reflection. The researchers have made new understandings on the basic questions of literary theory of reflection, such as the relationship between reflection theory and the theory of subjectivity, production theory and axiology; the relationship between literary cognition and aesthetics, and the literary aesthetic ideology. They also criticize the outstanding problems existing in the new theoretical proposition of literary theory of reflection. In 1993, Wang Yuanxiangdeveloped a new way of practical orientation of Marxist literary theory of reflection. In 1999, Tong Qingbing put forward a new judgment of Marxist literary theory of reflection, that aesthetic ideology theory is the first principle of literary and art theory. There are three significant theoretical orientations in the Marxist literary theory of reflection in the People’s Republic of China: the practical orientation occurs in the expansion and breakthrough stage, the other two are the cognitive orientation in the establishment and consolidation stage, and the aesthetic orientation in the development and deepen stage. In the expansion and breakthrough stage of Marxist literary theory of reflection, there are still some outstanding problems, such as paying not enough attention to the relationship between literary aesthetic reflection theory and literary aesthetic ideology theory, and not having the necessary theoretical consistency and systematization to understand and grasp the meaning of practice and the relationship between practice, cognition and aesthetic.
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