【摘要】 无论对文学做出何种理解与阐释,我们都无法否认,情感始终是文学生成的一个终极性因素,也是文学得以独立存在、产生各种效用的必备前提,而离开对文学情感的体验与认同,我们对文学的感悟也就很难说是深刻的。或许正因为这样,在中国文论史上,文学中的"情"成了文学批评家们关注的焦点,"诗言志"的古老命题也顺理成章地成了中国文学批评的历史起点。晚明这一特定时代的多种因素,使得主情论沿着情感论发展的路线有所变化地向前迈进。更多还原

【Abstract】 No matter how literature is explained and expounded,we can never deny that emotion is throughout a deadly fator for literature to come in to being and that emotion is also the prerequisite for literature to exist independently and produce various effectiveness.Whereas,our understanding of literature is seldom deep without experience or identification.motion in literature had become the focus,to which critics paid close attention,in Chinese literature history.Thus,oems expressing ambitions,he ancient topic,had become the beginning of Chinese criticism literature.During the late ain emotion theory go forward with variations along the route,on which eelings theory as developing.更多还原