【作者】 李辉；

【导师】 贺昌盛；

【作者基本信息】 厦门大学 ， 文艺学， 2007， 硕士

【摘要】 李健吾的文学批评一直被看作是中国印象主义批评的典范,他深受西方印象主义批评特别是法朗士、雷梅托等人的批评理论的影响,强调批评的主观印象,重视直觉感悟、主体介入和情感动力。同时,李健吾又在较大程度上自觉地将中国传统文学批评与西方印象主义批评融汇在一起,他在既有传统文学积淀的基础上,广泛地吸收传统文学批评与西方文学批评的有益因素,创造性地形成了自己独具风格的文学批评体系。在文学批评的具体实践中,李健吾的文学批评始终没有离开自由主义文化这一特定的历史背景,并由此形成了“平等、独立、公正”的批评原则,以及强调对话与创造的批评主张,乃至一种独特的“随笔式”批评文体。李健吾的文学批评对当时以左翼文学为主流的文学批评形成了某种有力的补充,其对当代中国文学批评同样有着相当的启发与指导意义。更多还原

【Abstract】 The literature criticism of Li Jianwu has long been regarded as the model of impressionism criticism in China. Influenced deeply by western impressionism criticism theories, especially those of France and Lemaitre, he emphasizes subjective impression, intuition sentiment, individual intervention and sensibility motivation. Meanwhile, he consciously to some extent combines Chinese traditional literature criticism with western impressionism criticism by accepting the beneficial factors in both traditional literature criticism and western impressionism criticism on the basis of available traditional literature foundation to form creatively his own special literature criticism system. In the practice of literature criticism, Li Jianwu has never gone beyond the historical background of liberalism culture. Thus, he has formed the criticism principles of“equality, independence and impartiality”and the special criticism style of“essay-like”, stressing the criticism views of communication and creation. Li Jianwu made some powerful supplement to the literature criticism with left-wing literature as the mainstream at that time. His literature criticism is also of great illumination and guidance significance to current literature criticism in China.更多还原