The academic value and significance of the achievements of Chinese feminist literary criticism since 1980s lie in: 1. In the translation and understanding of western feminist literary theory, the concept, connotation and characteristics of feminist literature were deeply studied, which laid and expanded the theoretical and methodological foundation of Chinese feminist literary research. 2. Studying the history of women's literature in China in the 20th century and the history of women's literature in contemporary China from the perspective of feminist literary criticism broadens the new horizons of the study of China's literary history, and highlights the new horizons and new features of women's literature in the writing tradition of literary history under the patriarchal rule. Thirdly, observing and studying the literary creation of female writers in China by feminist method, especially paying attention to the creative research of female writers in the new period, makes the study of female literature in China present a new and beautiful landscape in paying attention to female consciousness and female texts. Fourthly, Chinese feminist literary criticism has also influenced the development of contemporary female literary creation, and its growing momentum has promoted the germination and emergence of female consciousness of many female writers, making many female literary creations full of strong feminist literary colors.
Different from the western feminist literary criticism originated from the women's liberation movement, Chinese feminist literary criticism does not care about providing ideological weapons for feminist political movements through literary criticism. China's feminist literary criticism is not so much a subversion of male chauvinism and politics as an emphasis, admiration and display of female consciousness and female literature. Chinese feminist literary criticism has always been basically confined to the literary category. Without stepping into the visual threshold of culturology and politics, they often fall into the norms of male visual threshold and value system in the use of androgyny, body writing, gender politics and other words.
Looking at the achievements and present situation of Chinese feminist literary criticism, we also see some shortcomings: First, Chinese feminist literary criticism lacks China's theory and discourse. Because China's feminist literary criticism is based on the western feminist literary criticism theory, the theories, discourses and methods in the research process basically follow the western ones, and sometimes it can even be said that they are completely copied. Due to the different starting points and positions of feminist literary criticism between the East and the West, as well as the differences between eastern and western cultures and women's literature itself, when western feminist theories and methods are used to criticize China's women's literature, it is often out of touch and alienated from the literary reality, and sometimes it is even difficult to fit the body. Second, Chinese feminist literary criticism lacks poetic reflection on female literature. Because western feminist criticism is based on the concern about feminist politics and women's liberation, western feminist literary criticism is a kind of political criticism and sociological criticism from a certain angle, so most of them ignore the poetic consideration of female literature. Under the influence of western feminist criticism theory, Chinese feminist literary criticism rarely studies female literature from the perspective of literary characteristics, but often only from the sociological perspectives of female consciousness, gender struggle, female fate, love and marriage theme, and rarely from the perspectives of stylistic characteristics, narrative style, language style and symbolic metaphor. Therefore, feminist literary criticism becomes a sociological criticism. Thirdly, Chinese feminist literary criticism lacks deeper cultural observation and analysis. The creation of female literature is deeply branded with national culture. Every nation's female literature always has its unique cultural characteristics, and a certain culture also regulates and influences the creation and evolution of female literature. Feminist literary criticism should pay attention to culture, observe female literature from the perspective of culture, and explore the characteristics and changes of culture from the perspective of female literature, so as to deepen feminist literary criticism. Critical perspectives and methods are meaningful only if they are scientific and operable. As the angle and method of literary criticism, historical view how to enter literature with its own uniqueness and reach literature itself. So as to check its operability.
First of all, according to the principle of isomorphism between historical view and structure in literature, the present situation of macro literature is summarized and summarized by taking historical view as the path.
As a philosophical reflection on history, the view of history will permeate and radiate to all spiritual levels. Goldman, a French literary theorist, believes that the social spiritual structure is a systematic and regular spiritual expression of the spiritual framework of some social groups. Social spiritual structure will be reflected in literary works, because "the structure of the world of works is isomorphic to the spiritual structure of some social groups" (Note: Goldman: Methodology of Literary Sociology, Workers Press, 1988, p. 182). )。 How to connect the social spiritual structure with the work structure? Goldman put forward the concept of "world view" in the sense of methodology. He said: "The world outlook is not a direct empirical material, on the contrary, it is a working method to understand the essential concepts in the direct expression of human thoughts." (Note: Goldman: Hidden God, Baihua Literature and Art Publishing House, 1988, p. 18. ) Goldman himself said that the reason why he paid attention to Pascal, Kant and Racine stems from a world outlook. "If the main factors that constitute the outline structure of Pascal, Kant and Racine are mostly similar, although these writers are different from each other as individuals with life experience, then we must come to a conclusion that there is a reality that is no longer purely personal and expressed through their works. This is the world view, and judging from the specific situation of the author I just mentioned, this is the tragic view "(Note: Goldman: Hidden God, Baihua Literature and Art Publishing House, 1988, p. 19. )。 In The Hidden God, Goldman used the specific world view of "tragedy" as a method to study Pascal and Racine. As a method, "world outlook" is of methodological significance to the works and their systems. Goldman Sachs himself said: "Applying the world outlook to this article can help him get: 1. The main content of all the works studied. 2. The meaning of each component in the whole work. " (Note: Goldman: Hidden God, Baihua Literature and Art Publishing House, 1988, p. 23. The first point is that the role of world outlook lies in the choice of works, and the second point is the significance of world outlook to the way works enter. To summarize and summarize the present situation of macro literature by taking the historical view as the path is to take the historical view as the screening principle, and screen out the works potentially related to the historical view from the complicated literary facts as "the main body of all research works".
Second, the historical view can study literature in the context of continuity and integrity, and at the same time, it can also find the fracture and contingency factors in literary reality. In other words, the view of history can activate some hidden factors that may become obvious in the future, which is a function of discovery. Understanding of this function can be transformed into operation methods.
For example, in novels about intellectuals, intellectuals have completely returned to ordinary people, and the ideology of daily life is full of their hearts, thus breaking the chain of "saving the world" and "descending from heaven" in China literature tradition, especially in the May 4th literature tradition, which is consistent with the desire and secularization of contemporary life. If, as Foucault said, the concept of history is taken as a functional concept to explore the pedigree of literature, then such a deformed phenomenon in literature, which cannot enter the traditional chain of history and has no causality and inevitability, will emerge from the surface of history. It is true that the pursuit of meaning is the main feature of the knowledge-based reality of China's contemporary culture and even literature. However, there is also an "abnormal state" under normal conditions. The view of history can help us find these cultural fragments floating in the cultural space, which is closer to the true face of literature.
Third, decompose the multi-layer connotation of historical view and inject it into all levels of "a certain structure containing everything" as a way of analysis. Wellek and Warren put forward in "Literary Theory" that literary works and even all works of art are "complete symbol systems or symbol structures serving special aesthetic purposes" (Note: Wellek and Warren: Literary Theory, Sanlian Bookstore Co., Ltd., 1984, p. 147). )。 This symbol system is a multi-layer structure. In this structure, the historical view as a method can be divided into "image and metaphor" and "special world of poetry" respectively.
First of all, in "images and metaphors, that is, the core part of poetry can be expressed in all literary styles" (Note: Wellek and Warren: Literary Theory, Joint Publishing Company, 1984, p. 165. ), according to Goldman's thought of isomorphism of social spiritual structure and text structure, this paper analyzes the complex relationship between social form, cultural form and "image" and "metaphor" in historical view, that is, taking social spiritual structure as the framework and background for understanding "image" and "metaphor", and linking "image" and "metaphor" with social spiritual structure for thinking. China traditional culture itself is a big metaphor system, and any "image" and "metaphor" can be placed in the big metaphor system of culture itself. It is a horizontal aspect to put forward a new understanding of "all the core parts that can express the style of poetry" from the perspective of historical view. Of course, it can also provide a vertical way of thinking to analyze the evolution track of "image" and "metaphor" (note: the idea of "macro metaphor" used here, that is, metaphor in the sense of culturology, see Ji's Poetic Tradition from the Perspective of Metaphor, published by Du Higher Education 1998. )。
Secondly, on the level of "the special" world "of poetry existing in symbols and symbol systems, Wellek and Warren believe that this special" world "is the world seen by a" viewpoint "in their literary theory, and the" viewpoint "is implied in this world. Moreover, the "metaphysical essence" is not independent of this "world", but it is precisely this world that can be extended. This kind of thought embodies the emphasis on the subject function of "seeing" or "listening", and naturally leads the problem to the subject. Then, the corresponding historical view of the subject can be extended, and the historical view determines from what angle to "see" the world. This historical concept provides the writer with the consciousness of "seeing", endows space with the meaning of theme, and endows the possibility of image. For example, the dust settled written by the Tibetan writer Alai, whose historical view is that there is not much difference between people, whether Tibetan or Han, and there is no clear boundary between the particularity and universal significance of people or "human process", and the significance of people is far greater than that of the nation. According to this historical view, the image of "dust" enveloped the whole article and became the "microcosm" of his Tibetan toast world. The moral of this image is: man is dust, life is dust, war is dust, lust is dust, wealth is dust, and some links in the historical process may also be dust, rising, flying and scattering like dust, starting from the earth and finally returning to the earth ... This is the endless singing, reciprocating, desolation and sadness of the universe. This universal sense of history has been integrated into the human process.
When the phenomenologist Ingarden put forward the idea of four levels of literary works, in the fourth level, that is, the level of "another world" established by the internal structure of artistic works, Ingarden believed that this world "needs a set of specific subjective processes, which are to be completed by readers, performers or audiences in the process of objectification, and they need their active participation to gather all their experiences and abilities. Conduct intentional comprehensive activities in a conscious form "(Note: quoted from Judy's Contemporary Western Aesthetics, People's Publishing House, 1984 edition, p. 474. )。 This theory of "* * * co-creation" has a great influence on the structuralist theory of later literature. What I want to put forward is that this idea of "co-creation" can further prove the feasibility of analyzing literary works from the perspective of historical view, which is indeed a new dimension of literary criticism. Impression criticism is a critical method based on aesthetic intuition, focusing on the aesthetic characteristics of literary works and creatively expressing critics' subjective impressions and immediate feelings.
First, western impression criticism.
(A) the origin of western impression criticism
1, impressionist literary trend of thought
Impressionist painting, music, literature, etc.
2. Western modern humanistic philosophy and aesthetic intuition theory.
Schopenhauer: "Intuition is the highest source of all evidence."
Bergson's Aesthetic Intuition Theory
The artist's understanding of nature is not obtained through typed and static symbols and concepts, but through concrete, vivid, unique and direct feelings, which is intuition.
(B) the establishment of Western impression criticism
1, the bud of impression criticism (65438+end of 2008, 65438+beginning of 2009)
Representative: [English]: Lamb, Hezlet.
[France]: Saint Boff, Lemaistre.
Hai Zi Wright: "I said what I thought, and I thought about my feelings. I can't help but get some impressions from things; And I have enough courage (a little abruptly) to say my impression. "
According to Lemaistre, what a critic can do is "tell us the impression that a particular work of art left on us at a certain moment".
Saint Boff thinks that literary criticism is "indirectly spitting out the poems hidden in my heart", and "the literary criticism I expect and implement is invention and eternal creation."
2. The establishment of impression criticism at the end of19
Representative: French writer Francois
Frankly speaking, in the preface of Literary Life in France, critics should state: "Gentlemen, I will talk about myself through Shakespeare and Racine". Criticism is "the adventure of the soul in a masterpiece".
Second, China's traditional impressionist criticism
(A) the characteristics of China's traditional impressionist criticism
1, understand
"Read and ponder, see its interest."
"It goes without saying anything."
2. Tell poetry by image
Through metaphor, subtle psychological experience is transformed into a certain sensory image.
Pity: wind rolls water, trees destroy water.
Elegance: White clouds are in Chuqing, and birds are chasing.
Jin Shengtan: "How hasty the previous article was and how soothing this article was. After Lei Zhen, it was a state of clouds and smoke, which was extremely pen and ink. "
3. The object of criticism:
Critics mostly combine creation, appreciation and evaluation, such as Yan Yu and Si Kongtu. Their special status determines that they have more acute and delicate artistic perception and appreciation ability than ordinary people.
Third, the development of impression criticism in China.
(A) China's modern impression criticism
The representative of China's modern literary criticism.
Zhou Zuoren: True literary criticism should be a piece of literature and art in itself. Writing a book's impression and appreciation of a work is by no means a rational judgment.
Li Jianwu: Criticism is an independent art and a creative activity that embodies self-worth or meaning. Self is the highest standard of criticism.
(B) China's contemporary impression criticism
1. Characteristics of China's Contemporary Impression Criticism: Skepticism and Personality Consciousness.
Criticism is not mandatory, but descriptive, not critical, but creative. Criticism is not so much an explanation of the text as a self-knowledge, self-discovery, self-selection and self-creation of the text. -Wu Liang's The Choice of Literature
Literary Criticism is an Art —— He Xing 'an's Comment on An Independent Art World
Fourth, the basic characteristics of impression criticism
Praise the creativity and personality of the subject, emphasize the impression and intuition in the process of criticism, and highlight the aesthetic characteristics of criticism.
(1) Praise the creativity and personality of the subject.
Criterion of criticism
What is the standard of criticism? No, if there is, it's just me. -Li Jianwu
Individualization of criticism:
In the face of works, critics can freely stretch their personalities and integrate their unique feelings, inner experiences and personality temperament into the process of criticism. Only criticism full of personality is the real criticism.
The relationship between criticism and object;
In the practice of describing impressions, the object of criticism is no longer important, and literary works are only the material for critics to express themselves.
"In Wilde's article, criticism is no longer necessarily related to its object; Criticism has become a biography, an improvisation and a random fantasy. " -Wellek
(B) Emphasize the impression and intuition in the process of criticism
1, criticism is an intuitive appreciation.
The so-called intuition is a perceptual activity close to instinct. It can grasp the essence of things in an instant without any logical intermediary such as concept and reasoning, and has the characteristics of direct, rapid and comprehensive.
2. Pay attention to the individual's instantaneous reaction to the work.
"Criticizing a work is nothing more than a straightforward reader shouting his impression from a work." -Mao Dun's Essays on Literature and Art
3. Emphasize the overall grasp of the work.
"When it comes to appreciating a work, the first thing a critic should pay attention to is not the words, but the whole." -Li Jianwu
4. Reject rational knowledge in criticism.
The most valuable thing in criticism is the aesthetic feeling gained by the critic at the moment of feeling and experiencing the works of art, not some theoretical concept or system.
Poet's Rainbow: Describe the magic and magnificence of the rainbow with emotion.
Newton's rainbow: analyzing rainbow with spectrum and refractive index.
(C) Highlight the aesthetic characteristics of criticism
1, taking the aesthetic characteristics of literary works as a prominent or even the only object of investigation.
2. The task of criticism is to explore the aesthetic connotation of works and then create beauty.
"Making things look beautiful and moving is always a million times more important than telling the truth." -Mencken's The Process of Criticism
3. When we feel the aesthetic characteristics of the object, we pay special attention to the artistic beauty of the work, such as the beauty of artistic conception, realm, structure and language, and pay less attention to the social life revealed by the work.
"The real characteristics of poetry and the pleasure of poetry never come from the theme, but from the original use of poetry." Oscar Wilde
Application of verb (Verb's abbreviation) Impression Criticism
(A) the basic steps to describe the impression
The subject of criticism is required to capture the impression and feeling of the object of criticism mainly by artistic intuition and describe this impression with wonderful words. This critical practice especially emphasizes the artistic sensibility of the critical subject.
Get an impression: Get a unique impression instead of a general impression.
Rational expression: critics should organize impressions to make them have rational connotations, including their concern and discovery of society and life.
(B) the way to describe the impression
1, overall feeling
Example:
I don't know any novel that describes the pain, infatuation, cruelty and persistence of love so amazingly. Wuthering Heights reminds me of a famous painting by El Gehrig. In that painting, there is a dark and barren landscape covered by dark clouds. The haggard figure dragged by thunder staggered and was stunned by an emotion that did not belong to the world. They held their breath. A flash of lightning flashed across the lead-colored sky, giving the scene a final stroke and adding a mysterious sense of terror. Maugham
2. Comments and descriptions.
Example:
First of all, there are no towering mountains, no endless prospects, no rapids and waterfalls, only gentle and calm throbbing inside, ... ordinary hills with winding paths, huts with smoke curling up, gurgling streams under water lilies, trees dotted with red fruits and daisies swaying under roses. A cloud casts a shadow under the wheat field, and a stork perches on the Gothic tower. This is everything. Later, in order to make the picture vivid, a frog jumps among rushes, a girl plays in the sun, lizards keep warm at noon, larks fly on the ridge, crows chirp under the fence and bees hum for honey. Memories of beautiful countryside in the past six months. All this is like the dawn of youth, like a wish, a line of tears, a few love words, like a chiseled lady, like a chubby childhood poem, but lacking muscles. Continue reading, the picture becomes more stable, angular and prominent, and finally reaches a semi-monster and semi-fashion legend called Abedus. -[France] Gaudi: Preface to Abedus.
A review of impression criticism of intransitive verbs
(A) the advantages of impression criticism
1. Impression criticism emphasizes the subjective consciousness of criticism, advocates the free mentality in criticism and pursues the independent character of criticism, thus improving the status of criticism.
2. Impression criticism highlights the critic's intuition and personal feelings, and the intervention of intuition will make his criticism vivid and sharp, and increase the vitality of criticism.
3. Impression criticism's emphasis and pursuit of aesthetic features will enable literary criticism to better grasp the essential characteristics of literary works, and at the same time make criticism itself bring readers aesthetic enjoyment.
(B) the main drawbacks of impression criticism
1. Impression criticism overemphasizes impression and tends to arbitrarily deny the objectivity of literary works.
2. Impression criticism excludes rational factors, and comments often stay on the surface of art, so it is difficult to study the works deeply and systematically and grasp the internal laws of the works.