1—3课后练习答案

第一章：文学是语言艺术

1、文学的主体性

文学的主体性: 主体自身的各种条件，尤其是他的人生经验和他对社会生活的感受与理解，必然会深刻地影响着文学对生活的把握，由此形成的文学的这种社会意识的一个特点我们称之为文学的主体性。

文学与社会生活之间的关系：

1、文学源于生活；这种关系是由社会存在决定社会意识的规律所规定。

2、文学高于生活；这有两个涵义：其一是，文学对生活的反映不能仅仅停留在现象摹写的层面上，文学还需要寻找和揭示隐藏在生活现象背后的各种动因，对生活作出艺术概括。所以，文学所表现的生活要比普通的实际生活更高、更集中、更带有普遍性。其二，文学不仅仅是生活的反映，而且也是作家人生感悟和理想追求的表现，后者实际上会对前一种活动发生深刻的影响。（也就是说，作家对生活的理解和认识，他的人生理想和追求，决定着他反映什么样的生活和怎样反映生活。因此，无论作家自觉与否，他都会在反映生活的同时或鲜明或隐蔽地表现自己对人生意义的思索，并以此给读者以精神上的启迪和审美的享受。）

2、艺术真实

艺术真实: 按照文学对生活的特点来检验其意识属性的一中尺度.

它包括了三个不同的测试，并以此满足三种不同的需要：

1、通过反映的测度以满足理解生活的需要；反映测度强调文学作为一种社会意识必须源于生活，以现实生活为基础，必须符合生活的逻辑或情感的逻辑，从而使人们能够通过虚构的文学世界加深对现实人生的感受和理解。这是艺术真实的最基本的要求。

2、通过表现的测度以满足对真情实感的需要；表现测度所检验的是创作主体是否具有真切的人生体验和真挚的情感状态。

3、通过心理的测度以满足读者接受的需要。心理测度所检验的是文学作品能否适应和满足读者的接受心理。这是以读者自觉或不自觉地把“假定性”作为接受的基础和前提的。但是，文学的虚构与想象除了要服从生活与情感的逻辑外，不需要注意各种体裁和语境对接受心理的规定。适应和满足读者的接受心理，使其能够认同文学的虚构与想象，是艺术真实的又一规定。

3、文学与“人学”的关系

含义：文学史，就其最深刻的意义来说，是一种心理学，研究人的灵魂，是灵魂的历史。（整个人类的文学历史，都可以说是展示人的生活，表现人的思想感情研究人的灵魂的历史。）文学是“人学”就是针对文学的这个特点来说的，其具体包括两个方面的含义：

1、就文学的审美性而言，即文学对生活的反映具有超越生活现象，表现人的价值追寻人生意蕴的特点。

2、文学以人为对象，它对人的表现、思考以及把握有着不同于其它社会意识的特点，即它是通过心理体验、心理经验，以感性的、直观的方式来把握人生。

文学作为人学的特殊性：文学表现整体的人、表现具体的人，文学表现人时总是融进文学家的情感因素。

它与文学的审美性的关系：

文学是“人学”反映了文学审美所要把握的对象，体现了文学的审美性是在文学活动中以“对象化”的方式进行，体现了文学以审美的方式把握生活，是人审美化的自我观照，反映了人与现实中审美关系，体现文学审美属性，把个性化审美性的社会实践和生活为对象表现出来。

4、语言艺术的基本特点：

1）、语言艺术的表现很少受时空的限制，对社会人生的反映有巨大的容量；因为文学塑造的形象不具有直观性，而是通过语言的中介诉诸于读者的想象和再创造，因此文学在表现社会生活时几乎不受时间和空间的限制，具有广阔的自由。

2）、语言艺术能够深刻、细腻地传达思想感情，表现人的心理生活；

3）、语言的丰富表现潜力拓展了文学的审美空间,使文学在把握人生上成为最自由、最带普遍性的艺术种类。

5、文学的涵义：

广义的文学泛指一切口头或书面作品，包括政治、哲学、历史、宗教等一般文化形态。狭义的文学才专指今日所谓的文学，即情感的和想象的作品，如诗、小说、散文等。具体而言，文学是作家用语言塑造艺术形象表现他对人生的审美感受

和理解的一种艺术形式。

文学活动中的言意矛盾：

即文学的语言表达与其意蕴并不完全对等，也就是指在概念语言难以传达审美意识的情况下，文学将怎样实现自己的应言说。具体的情形有三种：

第一种情形，是“意”的丰富多样和“言”的符号传达之间存在着差异、距离或不对等的矛盾，即“文不逮意”。第二种情形，表现为某些生成于个体体验的审美感受、对人生意蕴的领悟，本身具有不可言说或言说不尽的特点。

第三种情形，是发生在感受、运思的过程中，其表现为先于个人存在的语言可能会影响人的感觉与思维，从而限制了个体感受和思想的形成。所谓“言不尽意”、“难言之苦”、“文不逮意”，也就是这个道理。

第二章：文学形象

1、文学形象

文学形象: 凡是能够把主体从现实生活中所获得的审美意识通过语言外化为使他人在接受过程中产生审美想象与联想的感性对象，称为文学形象。

文学形象在文学本体构成中的意义和作用：

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2、举例论证文学形象的基本特征

1）. 间接性。指作为语言的艺术，文学作品中的形象不具有直接的现实性，它只能通过接受者的想象和联想才可能间接地被感知。如李白的诗句“孤帆远影碧空尽，唯见长江天际流”常被人们誉为“如画”。但是对不识字的儿童和不懂汉语的外国人来说，他只难看见印在纸上的符号，无法通过语言的中介去感受这两句诗，因而也毫无“如画”般的殉感可言。但是，倘若诗中所写的景色被拍成照片或影视等，情况就完全不同了。

2）、心象性。是指人们在接受文学形象时的心理活动其实是一种和语言密切相关的表象运动。文学可以将本身不具形体、难以捕捉的心理活动（某种情绪、情感、思绪、感受）转化为人能够感知的艺术形象。如李煜的“问君能有几多愁，恰似一江春水向东流”，在江水绵延的流动中赋予了一种沉甸甸的他量，写出了愁思之中的无限悔恨。这样那些原本说不清摸不着的心绪感受也因此有了鲜明生动甚至恰如其分的形象了。

3）. 概括性。是指形象具有传达丰富的内在意蕴的功能。首先，通过个别概括一般，通过偶然表现必然。其次，文学形象的概括性还表现为某种感情、某种精神境界、某种道理。再次，有的形象仅为表达一种如黑格尔说的“生气”、“灵魂”、“精神”而存在。中国古代文论中称这种形象的概括方式为“传神”。此外，文学形象的概括性还表现为能传达难以言说的意念和境界。

3、典型人物

典型人物是现实主义形态的叙事文学所创造的、在整体个性的表现出中显示了某种社会历史蕴意的、具有高度审美价值的人物形象。它具有以下特征：

1、具有鲜明的“整体个性”特点。即典型人物的个性是以丰富性和多样性为基础的，因而比特殊、具体、个别有着更深厚的内涵。

2、具有丰厚的历史蕴涵。由于现实主义叙事文学注重在社会关系中反映生活和描写各种各样的人物，所以把人的性格、命运视为社会关系的产物，自然也就十分注意到了典型人物的历史内涵。

3、具有独特的审美价值。在文学史上被人们称为典型的人物形象，都具有吸引和感染读者的巨大力量，他们以自身的存在启迪了一代又一代的读者，显示了一种永久的、能够激发智慧和丰富感受的艺术魅力。

典型人物叙事文学的关系

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4、意象及中西文学在意象创造上的不同

意象作为一个术语，由于某种原因心理学、美学和文学理论等学科都在使用而有了多种涵义。而作为文学形象的一种类型意象首先是一个评议事实，指为表现思想感情而创造的文学形象。思想感情和内在精神是意象所要表现的主要对象。所以，作为抒情写意的文学形象，意象的特点在于化虚为实，以实显虚。

中国所讲的“意象”一定要有殉，强调图画感，以用表达感情。西方所讲“意象”不一不定期显示出形象，不一不定期强调图画感，只是单纯地抒情。

5、意境及其构成和它的审美意义

意境又称为境界，或简称为“境”，是意象中一种富于开而上意味的类型，也是中国文学理论中关于抒情写意类的文学

形象的最高范畴。它指的是通过形象化的，情景交融的艺术描写，能够把读者引入充分想象空间的艺术化境。

它是一个由三重结构所组成的文学形象。第一个层面由意象构成，，其特点为情景交融，将需要表达思绪情感寄托于某种物象景象，创造出“情中景，景中情”的审美意象来。意境在形象结构第二个层面的展开是境生象外，即在意象创造的基础上引发读者的想象，使其感受到一种境界。具有虚实相生的特点：由那个情景交融的意象之实，引发了审美想象中的境界之虚。意境结构的第三个层面是韵外之致，它是说意境除了带给人们象外之象，还应使人获得言外之意。

第三章：文学文本

1、文学文本的涵义（作品概念）及其结构层次的划分

文学文本：在文学理论与批评领域，文本是指构成文学这种艺术品的具体语言形态。

“言”、“象”、“意”的关系是一个由表及里的层次结构，文学文本也正是一个类似的层次结构。我们依据“言”、“象”、“意”由表及里的关系，把文学文本的结构划分为三个层次：语言层；现象（形象）层；意蕴层。

对西方现代文论中不同的文本理论的看法

不同的文学理论流派研究文学作品的侧重点不同，对“作品”和“文本”含义的理解和立秋也不尽相同。一般来说，以作者为中心的议论，往往把“作品”看作一个被创造物，强调它是作家创造并赋予其生命的产品，因此作者的愿意被视为至高的权威。俄国形式广义、英美新批评及结构主义的文论则割断了作品的一切外部联系，将作品本体孤立起来作形式和结构的主义学分析，只强调文本自身的意义和独特价值，而把作者赋予作品的意义和读者的理解都放在了一旁。后结构主义和解构广义文论打破了前者研究的封闭性，消解了文本的中心意义，它强调文本的开放性，却又令人遗憾地把文本和批评都视为文字符号的游戏，因而走向了极端的形式主义。而接受美学则从文本结构与读者接受的关系入手来把握作品的特点，将文学与社会历史的关系重新连接起来，因而相比较之下，其广西理论较为辩证，也更富于理论的建设性。

2、文学文本与文学作品

文学文本是指由作者创作出来供读者阅读的语言形态，它强调的是作品本身的一种相对独立的、自足的意蕴；而文学作品（work）强调的则是作者的“作”，作品不过是“作”的结果，它具有作家所赋予的意蕴。现在人们较多使用文本的概念，说明把目光转向了文学本身。

文学语言的多义性（功用）

文学语义的多种含义大致分为表层含义和深层含义。前者指文本的评议明确传达出来的字面义，它一般比较确定、明了。后者则指隐含在字面义之下的内在涵义或言外之意，它往往是含蓄的、不确定的、有弹性的，甚至是不同含义并存的，因而提供了多种理解的可能。（文学语言的深层含义包括双关义、暗示义、反讽义、比喻义、象征义等。）两者的有机组合使文学评议成为多种意义的完整综合，给人以言有尽而意无穷的审美感受。

语境的含义

语境包括语言上下文和情景上下文。（语言上下文指语言本身的环境，变即言辞环境，包括词语、句子、段落及篇章等内部诸关系；情景上下文又称言辞外上下文，指的是语言社会环境。）在传统理解中，语境主要指某个词、句、段与它们的上下文之间的联系；而在瑞愉兹的语义批评理论中，语境指在工时性上，扩大到与我们诠释某个词有关的某个时期中的一切事情；在历时性上，表示一组同时复现的事件。

多义性的生成与语境的关系

语言的多义性都与特定的语境密切相关。

3、扁平人物、圆形人物、心态人物各自的特点

人物的类型（根据性格和心理的含量划分）：

1. 扁平人物，也就是单一性格的人物。扁平人物又称为类型人物。

2. 圆形人物，性格比较丰满、复杂、立体感强的人物。

3.心态人物，着重展示内在心理过程，表现某种精神体验的人物形象。

4、故事与情节的区别和联系

（故事，本义是指旧事、往事。运用到叙事作品中，则指一系列为表现人物性格和展示主题服务的按时间顺序排列的生活事件。故事有两个基本特征：一是故事中各个事件之间具有因果关系。二是事件的发生在时间性上呈流逝型特征。

情节，是叙事性文学作品（包括小说、戏剧）中人物活动及其经历的矛盾斗争的整个发展演变过程，也是人物性格成长的历史。它由一系列展示人物性格、表现人物与人物、人物与环境之间相互关系的具体事件构成。情节中，人物性格是核心，矛盾冲突是基础。）

故事与情节的关系。二者有密切关系，但不是一回事。故事具有原生（发）性，而情节具有加工性。这加工性使得情节要以

故事为基础，要叙述故事的基本内容；情节对故事要有所突出和强调，以获得更好的艺术效果。因而情节可以不按时间顺序来叙述。

情节与人物

（人物：人是社会生活的主体，是社会关系的总和。因此，在文学作品的内容因素中，人物必然居于整个形象体系的中心。环境不过为人物所设，情节则是人物性格和心灵发展变化的历史。它们都从属于人物形象的创造。）人物与情节：第一，人物性格是情节发展的内在逻辑依据。情节应随着人物性格逻辑的展开而发展变化，有什么样的人物性格便会产生什么样的情节。第二，人物性格是随着情节的发展而逐渐展开的。丰满的人物性格都不是静止不变的，而是不断发展变化的，而这种性格的发展变化正是在情节中逐渐展开的。

人物与环境

（环境：环境是环绕人物、形成其性格、造成其命运或者心态，并促使其行动的一切外部条件的总和。它包括自然环境（时间、地点、自然景物等）、社会环境（人物活动场所，社会文化风貌，人物相互关系。）

人物性格、命运或心态的形成离不开一定的环境。

5、文学文本的主题

主题：与艺术形象交融在一起的，饱和着作家审美情趣的一种意蕴，亦即为艺术形象所包含的审美意识。

主题不能仅仅归结为一种思想

审美意识的特点是感性与理性交融，激情与哲理一体；它复杂而双微妙，只可意会，而难以言传。1、从文学创作的角度来看，主题的萌生，就创作客体而言，来自生活的“暗示”；2、就创作主体而言，主题的萌生得之于作者的“发现”，是他凭借为理性所渗透的审美直觉敏锐地从生活中所捕捉、感悟到的某种东西。因此，萌芽状态的主题，一开始并不表现为一种赤裸裸的思想，而是一种蕴涵在生活形象中的情思，一种生动形象而双饱含情感、渗透理性的审美意识。

主题的多义性及造成主题多义性的原因

它指一部作品的主题可以从不同的角度去把握，因而有各种不同的释义。

作家主体性因素的带入，使艺术形象成为传导其思想情感珠活生生的载体；而作家思想感情的驳杂、矛盾，都会自觉不自觉地通过他的作品表现出来，导致文本主题目的多义性。

新视野第三版-第一册-课后翻译答案

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