20世纪以后,关注主体的作用和价值是人文科学的一种趋向。文学研究亦然。作者作为创作的主体和审美主体在作品中所起到的作用越来越受到重视。俄国著名学者维诺格拉多夫从话语不能没有主体这一事实出发,通过对大量名著的分析,提出“作者形象”这一概念,并揭示出其在俄国文学中形成与发展的过程,展现了这一范畴的普遍性和阐释力。这可以说是一种语文学的视角。巴赫金则立足于哲学美学的视角,从审美的创作论出发,通过研究作者与主人公之间的审美关系,证明作品中作者的存在,关注作者作为创造者的立场和功能。尽管两人的出发点和见解不尽相同,对于具体的文学研究而言,可谓是殊途同归,都强调作品思想与艺术的高度统一。 After the 20th century, the focus on the role of the subject and the value of the humanities is a trend. Literary research is also true. The role of the author as the subject of creation and the subject of aesthetics in the work is getting more and more attention. The famous Russian scholar Vinogradoff, starting from the fact that discourse can not do without a subject, puts forward the concept of author’s image through the analysis of a large number of famous works and reveals the process of its formation and development in Russian literature. This category shows the universality and explanatory power. This can be said to be a linguistic perspective. From the perspective of philosophical aesthetics, Bakhtin starts from the aesthetic creation theory and studies the author’s aesthetic relationship with the protagonist to prove the author’s existence in the works and to pay attention to the author’s position and function as a creator. Although the starting points and opinions of the two men are not the same, they can be said to be the same for all kinds of literary studies. Both emphasize a high degree of unity between the thought and art of the work.