The Research On The Travel Of Reception Aesthetics In Chinese Theory Of Literature And Art: The Whole Route And Two Major Issues

Since the early 1980s Reception Aesthetics has made a long journey in recent 30 years. During this time it has undergone transformation by degrees from western "exotic" to fashionable discourse of criticism and theory in Chinese Theory of Literature and Art. Concurrently Reception Aesthetics has linked Chinese issue directly involved in the formula transition of literary theory in the New Period. In the past some research on acceptance of Reception Aesthetics in China by scholars pays more attention to the overall situation of the acceptance history, some research pays more attention to the details of it. There is no shortage of insightful view and consciousness in theory. Nevertheless, compared with prosperity of the acceptance history on Reception Aesthetics in context of Chinese culture, research on the acceptance history on it as a whole is lagging behind, not penetrating deep into the level of overall dialogue between Chinese literary theory and Western literary theory. therefore we using Edward Said's model of "The Travel of theory" put forward "pattern of problem domain", taking " the effect on construction of contemporary Chinese literary theory to use Reception Aesthetics " as the key question, first inquire into the whole route on acceptance of Reception Aesthetics in Chinese theory of literature and art. Then on the foundation of observing the richness of acceptance achievement and intensity of problem consciousness, we select two major issues of "rewriting the history of literature" and "modern transformation of ancient Chinese literary theory". We explore the complex relation between two major issues and Reception Aesthetics in the course of collision and blend. After above study, we profoundly reveal the process of transformation of contemporary Chinese literary criticism focusing on the independence and the nationalization of discourse. There are four parts in this paper.The Introduction is the leading part. the discussion is mainly about the background of the thesis, mainly including the several aspects below:the explanations of "Reception Aesthetics" and "theory of literature and art " and other key words; the history and actuality of the research on the thesis; the pedigree and the theoretical value of the thesis; utilizing, operating and thinking on research methods in the acceptance history.In the first seris, the discussion is mainly about the rise of Reception Aesthetics in the west and "The Travel" of it in China. Reception Aesthetics is the inevitable outcome of study crisis of German literature. Hermeneutics Aesthetics of Gadamer and Phenomenological Literary Theory of Ingarden as two major theory source affects the whole structure and the theory tendency of Reception Aesthetics. Reception Aesthetics gives a powerful impetus to development of literary criticism of the 20th century turning to the reader-oriented literary theory. It has obvious limitations in theory and practice. In the scope of the world, the dissemination of Reception Aesthetics is the historical background when this theory is accepted by us. Internally the whole route of Reception Aesthetics in Chinese theory of literature and art is divided into three stages:translation, research and application.In the second seris, the discussion is mainly about the historical relationship between Reception Aesthetics and rewriting the history of literature. The discussion of narrow sense "rewriting the history of literature" lays some of the basic ideological foundations for Chinese scholars breaking through the shackles of the old viewpoint of literature history and introducing Reception Aesthetics. In recent 30 years, in trends of thought of the generalized "rewriting the history of literature", Chinese scholars bring in Reception Aesthetics and reconstruct landscape of the history of Chinese literature to solve the paradox in the history of letters. Chinese academic community establishes new paradigm of the acceptance history with Chinese characteristics. This paradigm contributes to the two major historic transformation. first the paradigm on the history of letters have been changed somewhat from political standards domineering over artistic standards to the unity of aesthetic and historical, simultaneously the readers acceptation playing a key role in the reading of literature. Secondly explanatory system on the history of letters have been changed somewhat from the writer-works-oriented to the exchange-oriented between reader and text Meanwhile Jauss's original theory increasingly is transformed and supplemented in "alien context of Chinese culture". Then Jauss's theory itself has gradually Chineseized. Transition of the paradigm on literature history reflects replacement in theory of literature history, which highlights that contemporary Chinese discourse change of literary criticism from instrumental to autonomy.In the third seris, the discussion is mainly about acceptance history relationship between Reception Aesthetics and modern transformation of ancient Chinese literary theory. There are three things which have brought about a result that Reception Aesthetics can be involved in the item of "modern transformation of ancient Chinese literary theory". First, there is similarity in some respects on inclination within Reception Aesthetics andancient Chinese literary theory; Second, it is valuable as a methodology to accept Reception Aesthetics for settlement of "Chinese issue"; Third, Chinese scholars'cultural psychology has its reverse. In recent 30 years, in the horizon of sino-western comparative studies Chinese scholars are untiring campaigners using Reception Aesthetics to make contemporary interpretation of many categories and propositions on reception theory of ancient Chinese, which forms a diachronic sequence and reflects development of gradual deepening and Consciousness of ancient Chinese's reception theory. On the other hand, in the horizon of sino-western comparative studies Chinese scholars gradually discover that there are five major national features on reception theory of ancient Chinese, which relate to five major aspects including relation of basic literature element, characteristics of reception and thinking pattern of study on reception, criticism speech register, receptor, the actual performance. Chinese scholars by means of culture mould-pursue reveal chinese and Western cultural root behind five major national features. Chinese researchers Initially Construct Reception Aesthetics system embodying the characteristics of eastern culture at the meeting point of diachronic and synchronic. Their research advances nationalization process of contemporary Chinese discourse of literary criticism. We have to talk about the fact that their research is actual achievement of "modern transformation of ancient Chinese literary theory ".There is the close link between new paradigm of "acceptance history of Chinese literature " (achievement in the main body of acceptance history of ancient Chinese literature) discussed by the second seris and "reception theory of ancient Chinese" discussed by the third seris. The former analyzes reception phenomenon of ancient Chinese literature and summarizes inexorable law and developing trend on reception. These outcomes provide theoretical material for contemporary interpretation of the latter. In exchange, theoretical and philosophical achievement of the latter can help us to grasp the essence of the former (acceptance history of Chinese literature). Thus the two go together very well. The former is the presupposition and basis for the latter. The latter is extending and deepening of the former. As a result, there is sensible inherence affiliation between the second seris and the third seris in this study.