作　　者： ;

机构地区： 顺德职业技术学院

出　　处： 《东莞理工学院学报》 2016年第2期38-43,共6页

摘　　要： 随着当代文学评论“对象化”倾向益盛与新媒介的不断冲击,文学式微与阅读式微接踵而至。现象学美学理论强调交流与融合,凸显读者在阅读活动中的主体地位。英伽登作为现象学美学走向成熟的代表人物,从本体论出发强调个体阅读体验,赞赏读者积极构建对象世界的首创性和能动性,重视阅读过程中直接地生动地呈现,并对阅读后的种种现象进行反思,其理论蕴含着强烈的读者意识。英伽登科学、细致研究文学的艺术作品的方法和认为读者能直观文学作品本质的分析为当下文学批评如何“接地气”和大众读者告别“异化、冷漠”、实现“深度阅读”具有重要的启示意义。 With the ＂objectified＂ tendency of contemporary literary criticism and continuous impact of new media, the lit- erature and reading is declining. The phenomenon aesthetics reading theory focuses on communication and integration, highlighting the dominant position of the reader in reading activities. Roman Ingarden as a representative of phenomenon aesthetics, from the perspective of ontology, emphasizes individual reading experience, appreciating the initiation and motivation of reader actively build- ing the objective world, valuing the vivid presentation of reading process, reflecting on a variety of reading phenomena and having a strong reader consciousness. Ingarden＇ s scientific meticulous research methods and thinking that reader can mine the nature of liter- ature has important meaning for the contemporary literary criticism.

关 键 词： 英伽登 现象学美学 阅读理论 读者意识 阅读体验

分 类 号： [I01]

领　　域： []