作　　者： ;

机构地区： 广东外语外贸大学南国商学院中文系

出　　处： 《南京师大学报（社会科学版）》 2012年第4期141-147,共7页

摘　　要： 对古典主义在中国的传播研究,可围绕三个有价值的命题展开重思:多元文化背景下的学衡派思想张力与古典主义文艺思潮的植入;对"浪漫"时风的反拨:梁实秋对白璧德新人文主义理论话语的承传;借镜西方与持守正统:古典主义与中国传统审美方式的昭显。把此三大层面若干问题放置于历史"现场"而展开宏观与微观视野相结合的推进式新探,既可初步概说与读解新时期文学理论如何由"传统"向"现代"转型、发展的轨迹及现代知识分子人文精神的审美诉求,又可深度透视20世纪现代中国文学创作重建、延伸及演变的必由之路,同时也可多重考察古典主义在中国的传播及其对多元共生的现代中国文艺创作新体系的辐射。 Over the historical occasions and aesthetic implications of the spread of classicism in modern China, we can adopt a panoramic view from the following three perspectives： the tension presented by the ideology held by the Xueheng School against the background of muhicuhuralism and its relationship with the introduction of the Western literary classicism; the counter-action against the romantic trend made by the Xinyue School writers like Liang Shiqiu, who followed Babbitt＇s theory of new humanism; and the balance between learning from the west and sticking to Chinese tradition. Putting these three issues into the historical context and giving them mi- croscopic as well as macroscopic readings can on the one hand help develop a general picture of how the literary theory developed from ＂traditional＂ to ＂modern＂ and how the aesthetic taste and pursuit of modern Chinese intellectuals looked like. On the other, this will help deepen our understanding of why the modern Chinese literature in the 20th century became what it was as well as what effect the spread of Western classicism in China has exercised on the development of a pluralistic literary creation system in modern China.

关 键 词： 古典主义 世纪现代文学思潮 学衡派 梁实秋 欧文 白璧德

领　　域： [文学]