中国古代文艺美学的泛情论倾向

On the tendency of universal emotion in ancient Chinese literary aesthetics

中国古代文艺美学理论在明代中期以后表现出一种泛情论倾向,这同西方文艺美学理论中的泛爱论、泛性论明显不同。泛情论倾向的出现同中国文学史上重情的传统有密切关系。其理论意义和思想价值突出地反映在三个问题上,一是对人性和人的生命意识的张扬,二是对作者主体意识和主体情感的肯定,三是重视情趣的审美观念的确立。

The midMing Dynasty began to witness the tendency of universal emotion in Chinese literary aesthetic theory,which is apparently different from the western literary aesthetics which takes love and sex as the fundamental.Being closely related to Chinese tradition of attaching importance to emotion in the literary history,the theory of universal emotion has its values in the three aspects:to praise the humanity and significance of life,to approve the consciousness and emotion of the subject,and to establish the aesthetic concept of emotion.