“消融”与“投射”的批评之路——王国维“无我之境”与朱光潜“移情说”在文学解读中的不同运用

The Critical Path of “Dissolution” and “Projection”—Different Applications of Wang Guowei’s “Selfless Realm” and Zhu Guangqian’s “Theory of Transference” in Literary Interpretation

摘要: 在文学批评中，“情景交融”“物我合一”等审美追求常被笼统归为同一范畴，实际上其内在包含两种不同的审美批评机制：王国维“无我之境”代表的消融式批评，与朱光潜“移情说”代表的投射式批评。本文旨在对比两种批评路径的核心差异，厘清其在文学文本解读中的不同运用逻辑与适用边界，弥补现有研究对两种审美范畴辨析不清的不足，为文学批评实践提供更精准的分析工具。本文采用文本案例分析法，从文化哲学本源、主体情感状态、主客体关系三个核心维度，选取古典与现当代文学经典文本展开对比分析：以陶渊明《饮酒》、吴敬梓《儒林外史》对应消融式批评路径，以李白《独坐敬亭山》、曹雪芹《红楼梦》黛玉葬花片段对应投射式批评路径，同时结合辛弃疾《贺新郎》、徐志摩《再别康桥》探讨两种路径的融合形态。研究发现，王国维“无我之境”的消融式批评追求主体隐退、人融于物，以客观冷静的呈现实现物我平等合一，形成克制间离的审美效果；朱光潜“移情说”的投射式批评强调主体情感外射，将外物人格化实现情感共鸣，形成共情沉浸的审美效果。研究表明，两种批评路径不存在优劣之分，分别适配不同审美特质的文本：“无我之境”适用于分析淡远空灵、主体消融的文本，“移情说”适用于分析抒情强烈、主体外射的拟人化文本。本研究结论可为文学批评实践提供更清晰的分析框架，帮助批评者更精准地挖掘文本的不同美学价值。

Abstract: In literary criticism, aesthetic pursuits such as “fusion of scene and emotion” and “unity of object and self” are often loosely subsumed under a single category. In fact, they encompass two distinct mechanisms of aesthetic criticism: the “annihilative” mode represented by Wang Guowei’s “realm of no-self” and the “projective” mode represented by Zhu Guangqian’s theory of “empathy”. This paper aims to compare the core differences between these two critical approaches, clarify their respective logics of application and boundaries of applicability in the interpretation of literary texts, address the prevalent lack of differentiation in existing scholarship, and provide more precise analytical tools for literary-critical practice. Employing a method of textual case analysis, this study examines the two paradigms from three core dimensions—cultural-philosophical origins, affective states of the subject, and subject–object relations. It selects both classical and modern literary masterpieces for comparative analysis: Tao Yuanming’s Drinking Wine and Wu Jingzi’s “The Scholars” are examined in light of the annihilative mode, while Li Bai’s “Sitting Alone in Mount Jingting” and the episode of Daiyu burying flowers in Cao Xueqin’s Dream of the Red Chamber are analyzed through the projective mode. In addition, Xin Qiji’s “Congratulations to the Groom” and Xu Zhimo’s “Saying Goodbye to Cambridge Again” are discussed to explore hybrid forms where the two modes converge. The findings reveal that Wang Guowei’s annihilative mode—the “realm of no-self”—pursues the retreat of the subject, the immersion of the human into the object, and an objective, dispassionate presentation that realizes an equal unity of self and thing, producing a restrained and distancing aesthetic effect. By contrast, Zhu Guangqian’s projective mode—the theory of empathy—emphasizes the outward projection of the subject’s emotions, personifying external objects to achieve affective resonance, resulting in an immersive and sympathetic aesthetic effect. The study demonstrates that neither mode is inherently superior to the other; rather, each is suited to texts of distinct aesthetic qualities: the “no-self” realm applies to texts characterized by ethereal tranquility and the dissolution of subjectivity, whereas the empathy theory applies to intensely lyrical, personified texts marked by the outward projection of the subject. The conclusions offer a clearer analytical framework for literary-critical practice and enable critics to more precisely excavate the diverse aesthetic values embedded in literary texts.