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印度电影划船歌曲原唱
2024-08-27 08:22:43
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印度电影划船歌曲原唱剧情介绍:
（1）批评家阅读文学作品以后的个人感受的记录；
（2）作品主要内容的归纳和解释；
（3）历史研究，指对一般文学背景、作者生平、作品所涉及的作者自身的那些内容以及文献书目的校订考证等；
（4）语文学研究，如外来语、罕用词语、典故等的研究；
（5）道德研究；
（6）其他特殊研究，如哈代小说中的地名研究等。
显然，兰色姆要排除的主要是从个人的感受、从作品与背景、与作者的联系、从道德的角度以及从其他非内在研究的角度所进行的批评。他主张的是把作品作为一个独立自足的存在物加以研究。他说得很明白：“本体，即诗歌存在的现实。”[1]
兰色姆对于“本体论批评”还有第二种理解：他认为诗的本体性来自它可以完美地“复原”世界的存在状态。在《新批评》一书的结语中，他这样写道：“诗歌的特点是一种本体的格的问题。它处理的是一种科学论文无法处理的存在状态，一种客观性的层次。诗歌旨在复原那个我们通过自己的感觉和记忆散乱地了解的复杂难制的本原世界。”[2]这就是说，诗歌的本体性就在于它与“本原世界”的联系。这样一种看法与古希腊亚里士多德的“模仿说”有着异曲同工之妙。然而问题在于：兰色姆提出的这种看法与他的上述第一种理解并不吻合。如果文学作品的本体是一封闭的、自足的存在物，那么它必然与社会历史，与作者和读者的主观感受，与道德、政治、经济等无关。然而如果文学作品的本体是对“本原世界”的“复原”，那么它不可避免地要涉及人类社会历史的方方面面。对于文学作品的这两种不同的理解显然存在着矛盾。然而不知由于疏忽还是别的什么原因，兰色姆在提出“本体论”批评时竟然没有意识到这一点。
相关影视:印度电影划船歌曲原唱
