【摘要】 近70年来,对"文学"的定义随时代的发展呈现出变动中的阶段性样态。这一流变呈现为从"反映论""审美论"到当下的"审美终结论""文学终结论"等。20世纪50年代至80年代初的"反映论",与古典主义文论和美学呈现亲缘关系。"反映论"与社会主义和共产主义的政治、经济、社会实践的合拍性,实质上是在政治—经济和文化—审美领域上对"卡夫丁峡谷"的双重跨越。而80年代以降审美现代性的发生,则是在这场跨越后,对市场经济条件下社会生活的新的美学表达。中国的审美现代性是采纳西方审美现代性与社会现代性的双重逻辑来发展自身的,当代中国审美自律和艺术的独立性并未被真正强调,可以说中国并未形成现代西方意义的审美现代性。考察近70年来"文学"定义的流变之意义,是在审美泛化的当下社会探索"定义"文学的新的可能。更多还原

【Abstract】 In the past 70 years,the definition of literature kept changing in different stages with the development of times.Key concept changed from Reflection Theory and Aesthetic Theory to the contemporary notion of "the end of Aesthetic Theory",and "the end of Literature".The Reflection Theory,as the central idea from the 1950 sto early 1980 s,shows a close relationship with Classical Literary Theory and Aesthetics.The Reflection Theory is in consistent with the politics,economy and social practices of socialism and communism,which is in fact a double-leap over the Kaftin Canyon,in both political-economic and cultural-aesthetic area.The emergence of aesthetic modernity is a new term of expression,from the perspective of Aesthetics,of social life in market economy system after this leap.China’s aesthetic modernity develops itself by adopting the doublelogic of western aesthetic and social modernity.In the context of contemporary China,aesthetic autonomy and the independence of art seems never to be emphasized.Thus it can be concluded that aesthetic modernity,in a sense of the western one,has not yet been formed.The significance of the examine of the definition of literature in the past 70 years is furthermore to explore the possibility of re-defining literature.更多还原