从斯达尔夫人和马修·阿诺德等人开始的现代文学观念，沿袭了传统的文学研究范式，即在主体性理论的基础上把文学作为主体的一种活动方式和活动成果来认识文学，因而他们通过文学研究揭示的不是文学自身的真相，而是主体的真相：主体是如何在文学活动中建构起来的。俄国形式主义者提出了“文学性”的概念，将文学的对象界定为作品的文学性，从而改变了文学研究的范式，使得对文学的探讨摆脱了宏大叙事的影响和制约，转向了具体的实证研究；摆脱了哲学、社会学、历史学、心理学等学科的牵缠，而回归到文学本身来探讨作品所以成为文学的特质；摆脱了因果决定论的束缚，而能在历史的具体的语境中把握文学的实质。
Abstract
The ideas of modern literature from Madame de Stael to Matthew Arnold inherit the form of traditional literature which approaches literature from the perspective of the modes and outcomes of the subject's activities on the basis of the theory of subjectivity.Thus what they revealed through literature studies is not the truth of literature itself but the subject itself i.e. how the subject forms through literary activities. The Russian formalists put forward the concept of literariness which defined the object of literature as literariness of the works.The changing literary study modes makes the discussion on literature studies transfer from the grand narrative to empirical study.Getting rid of the binding of philosophy, sociology, history and psychology, people turn to the literature itself to explore the works and their features . Similarly, without the control of causal determinism makes it possible for them to grasp the gist of literature under the concrete language context.
关键词
文学 /
文学性 /
范式 /
主体性 /
宏大叙事
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Key words
literature /
literariness /
paradigm /
subjectivity /
grand narrative
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参考文献
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脚注
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基金
本文为黑龙江省哲学社科研究规划项目“后现代语境下的文学观念”（11B034）的阶段性成果。
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