【作者】 周敏；

【导师】 方克强；

【作者基本信息】 华东师范大学 ， 文艺学， 2006， 硕士

【摘要】 李健吾在现代文学批评史上的地位是不容忽视和低估的。他的文学批评观、文学批评实践及其形成的文化背景在现代文学批评史上都是一个独特的存在，对他的文学批评观、文学批评实践以及文化背景进行梳理与总结，不仅对我们反思20世纪的文学批评，建构当下的文学批评理论具有重要的价值，而且对当下多元的文学批评实践也具有启迪性的意义。本文以李健吾三、四十年代的文学批评为研究对象，以李健吾用笔名刘西渭写成的《咀华集》、《咀华二集》为切入点，具体探讨李健吾早期的文学批评观、文学批评特色以及李健吾文学批评观、批评特色形成的文化背景，总结李健吾文学批评对当下文学批评的启迪和意义。 三、四十年代中国批评界主要呈现两种声音：一种声音是以鲁迅、茅盾为代表的左翼文人，倡导社会——历史批评，强调极度的“社会关怀”，威震文坛，名噪一时；另一种声音是以李健吾、沈从文、朱光潜为代表的“京派”文人，强调重直觉、重审美的批评。以李健吾为代表的审美批评，虽然在当时抗日救亡日趋高涨的形势下，显得有点“不合时宜”，有点微弱，但从文学批评理论建设发展的角度看，他的文学批评观无疑丰富了文学批评理论，在当时也起到一种制衡、互补的作用。分析李健吾的文学批评观，我认为突出体现在四个方面：批评是一种独立的艺术；批评是自我的发现和价值的决定；批评是一种审美活动；批评是公正的。李健吾的批评观是建立在“人性”和“审美”双重标准的基础上的，是独特的、现代的、审慎的，尤其是在三、四十年代普遍认同社会——历史批评的背景下，李健吾不随波逐流、追求时尚，而是大胆的、有针对性的发表自己对批评的认识，这无疑是难能可贵的，他的批评观使现代批评理论达到了一个全新的高度。 李健吾的文学批评实践是他批评观的生动体现。李健吾在文学批评上不仅是理论的积极建设者，也是一个身体力行的实践者。早在三、四十年代，他就对当时一些知名或不知名的作家进行了独到的评论，对部分作家作品的批评见解有些直到今天我们都无法超越。他的批评文集《咀华集》、《咀华二集》有着广泛的影响。三、四十年代中国批评界由于受西方批评的影响，批评家的批评文章大都重理论性、系统性、科学性。一篇批评文章往往具有一种恢弘的理论气势，议论分析，洋洋洒洒，长篇巨制。而李健吾的批评文章则以他独特的批评文体、批评语言、批评个性、批评态度为当时的批评界吹进一股馨人心脾的清风，形成现代文学批评史上一道独特亮丽的风景线，成为一种批评的范式。更多还原

【Abstract】 Li Jianwu’s position in the history of modern literary criticism should not be neglected and underrated. It is unique even in the history of modern literary criticism that he formed his own view of literary criticism, the practice of literary criticism, and it’s culture background. So analyzing and concluding his achievements will not only have important value for us to reflect the literary criticism in 20th century, build the present theory of literary criticism but also be of enlightening significance to the present plural practice of literary criticism. Here in this essay, selecting Li’s critical literary works in 1930s and 1940s as a subject of study, beginning with his works Critique Collectanea and Critique Collectanea II both with another name Liu Xiwen instead of his own name, I studied carefully and concretely Li’s early view and feature of literary criticism and its culture background, concluded its inspiration to the present literary criticism.There were mainly two kinds of voice from the critical field in China in 1930s and 1940s. One was the social-historical criticism from the left literators represented by Lu Xun. Mao Dun etc. They were very famous at that time by emphasizing greatly "social concerning"; another was "Beijing School of Thought" with representatives of Li Jianwu, Shen Congwen, and Zhu Guangqian. They stressed perceptional and aesthetical criticism. Li-centered aesthetical criticism seemed somewhat "out of date" and weak at that time under the circumstances of increasingly Anti-Japanese spirits. But from the stand of developing, no doubt, Li’s view of literary criticism enriched the theory of literary criticism, and played an important role as balancing and mutual learning. After analyzing Li’s view of literary criticism, I concluded four outstanding aspects: in the first place, criticism is an independent art; secondly, criticism is self-discovering and value-decision; thirdly, criticism is a kind of aesthetical action; finally, criticism is justice. Based on the dual-standard of "humanity" and "aesthete". Li’s view of literary criticism is unique, modern, and cautious. Especially with the common admitting of social-historical更多还原