胡亚敏 华中师范大学
Hu, Yamin, Huazhong Normal University
原文Original
坚持比较文学的差异性研究——对有关论争之再认识
在比较文学研究中，中外学者曾围绕“中国有无哲学”、“中国有无悲剧”和“中国有无史诗”等命题展开论争。本文认为，从当代学术立场看，这些命题隐含了一种以西方文化为中心和标准的权力模式，断定“中国没有哲学”、“没有悲剧和史诗”的前提都是以西方文化为尺度，以西方标准衡量中国文化和文学的。这种论断引起的另一问题是忽视中国传统文化和古典文学的特征和优势，甚或导致中国文化独立性的丧失。因此，坚持比较文学的差异性研究就显得非常重要。
在漫长的历史发展中，中国文化形成了独特的思想体系。在宇宙观上，中国以道为源，无中生有，虚实相生。在对世界和事物的把握和认识上，中国人讲究心领神会，在仰观俯察外物时用整个身心去体验，直到悟出最精妙之处。在思维方式上，阴阳五行学说集中地体现了中国互补式的辩证精神，相互转化，相克相生。并且中国古人的思维具有具象性的特征，即善用形象或寓言、故事的样式来解释世界和说明意义；这种具象性带来了整一性和混沌性，突出的是形象的和谐乃至人与自然的浑然一体。这种思维方式表现在欣赏和品评文学作品中，则要求品评者全身心地的投入，品评过程中审美感受非常丰富，但言传出来则多是只言片语，其批评文体以诗话、词话、小说评点为主。
本文的结论是：中国传统文化浸透着本民族的历史积淀和心理需求，有着不同于西方的认知模式和体验方式。中西文化和文学各有优势，它们通过不同的途径为人类社会的发展做出了贡献。在比较文学研究中，中西文化和文学应互为参照物，在坚持差异性的基础上优势互补。
译文Translation
Adhering to the Otherness in Comparative Literature Studies: A Rethinking of Relevant Debates
In the field of comparative literature, scholars both at home and abroad have had many debates on questions such as “Does China have philosophy?”; “Does China have tragedy?” or “Does China have epics?” This essay argues that academically speaking, such theses actually imply a paradigm of power centered on western culture and criteria. The premise of the claim that “China has no philosophy, or tragedy or epics” is the setting of western culture as the only criterion, judging Chinese culture and literature from the western perspectives. Such claims have led many people to ignore traditional Chinese culture and the uniqueness of Chinese classical literature, which can result in the danger of Chinese literature losing its dignity and uniqueness. Therefore, it is critical to adhere to a focus on otherness in comparative literature studies.
In its long history, Chinese culture has developed a unique system of thought. Chinese believe that in the cosmos Dao is the source of all creation. You (being) is born of Wu (nothing); Xu (emptiness) and Shi (solidity) work together. In the process of knowing the world and nature, the ancient Chinese emphasized that one’s heart and mind should go together and be devoted to observing and experiencing the world until one could be enlightened by its wonder. The Chinese way of thinking is influenced by Yin Yang and the Five Elements Theory, which reflected the reciprocal and dialectical spirit of the Chinese people. The ancient Chinese noticed that things could change from one side to the other, and that opposites could be inter-generative as well as inter-restrictive. What is more, the ancient Chinese liked to use images, fables, parables, or stories to explain the world and meanings. This feature has produced a sense of both wholeness and ambiguity, highlighting the harmony of images and the unity of human beings and nature. This way of thinking, when applied in literary criticism, requires the critic to devote himself/herself to the work or art. Although the critic may have ample aesthetic experience in the process of criticizing and appreciation, what he/she says about the work should be confined to limited words or very short comments. The major styles of literary criticism are “Shihua” (the critique of poetry), “Cihua” (the critique of another form of poetry - “ci”), and “Xiaoshuo Pingdian” (comments on novels).
This essay concludes that traditional Chinese culture is saturated with an historical heritage that can meet the psychological requirements of the Chinese, and that its patterns of thinking and mindsets are different from those of westerners. The western and Chinese culture and literature have their own specific advantages, contributing to world civilization through their different approaches. In the study of comparative literature, western and Chinese culture and literature should be mutual referents, sharing their complementary advantages on the basis of maintaining their uniqueness.