对人类共通的“诗心”、“文心”矢志不移的探讨与追求，贯穿钱锺书理论文本始终，形成了广博精深的思想体系，其旨归显示出对“五四”主流功利主义文学倾向的明显偏离与纠正意向。本成果对其进行了整体观照与研究，主要以审美性为线索，分别围绕文学的本质、文本、创作、发展以及阐释等范畴展开，具体梳理与分析钱锺书在这些问题上的认识、态度、方法与意图及其形成的历史文化语境和学术系谱，尤其注意抉发其沟通中西、融汇古今的特点，进而以此探测和把握钱锺书独特文学选择与思想倾向的成因、特征与意义，从而充分彰显其在中国现代文学理论史上的突出贡献与历史地位。具体内容如下：

绪论述评相关研究成果，并说明写作缘起、价值、方法与创新之处。

第一章 钱锺书的学术生存与理论形态

钱锺书的家学渊源、求学经过、治学经历以及社会文化变迁等独特学术生存语境，积极参与其思想建构并赋予其独异的“现代性”品格。它呈现这样一种复杂情境，一方面因为对于“世界的认识”不过是一种“诗意的认识”，因此“不耻支离”、执着现象、解构体系，便成为“文章所包含的态度”；另一方面在前者的深层，又隐含一个以审美性为立足点，不断探讨文学规律与现象的潜在体系。这两方面相反相成，构成一种悖论性存在，显示出钱锺书文学思想内在的张力。

第二章 文学的“定指”：“文学性”

独特的思想方法与审美选择，决定了钱锺书对文学的相对主义认识：“存在判断与价值判断合而为一”，但“文学虽无定义”，却“固有定指”。根据前者，他将文学与社会文化系统沟通，表明其心理特征。根据后者，他将文学与哲学、历史、情感体验等逐一联系甄别，突出其形象性、虚拟性与情感性；又将文学与禅宗、音乐、绘画等艺术门类予以比较区分，强调其语言特征。这种对文学的相对主义处理与同期西方形式主义对文学所采取的态度是一致的：充分考虑文学的复杂性，不给明确的定义，只是探讨它的“文学性”，从而避免了决定论与绝对论倾向。同时，正像后者在西方向“历史的或意识形态的功利观”所致力的批驳一样，钱锺书立足本土语境，向“功利观”的中国形态猛烈抨击，力图使文学确立自己的独立地位。

第三章 文学文本：审美价值结构

“文学性”认知的审美意向反映在钱锺书的文本观上，就是文本被视作一个审美价值结构，而非主流一向认为的，是一个“载物”或“载道”的容器。对此，他以辩证思维为理论透镜加以阐述。首先他反对将“题材与体裁或形式分为二元”，指出“言即是物，表即是里”，二者对立统一，不可外在拆分；并借鉴中西文论中把文本视为一个不同质整体予以层次分析的做法，将文本分为语音、语意与神韵三个层面，前两者与后者一实一虚，相辅相成。进而又从谋篇、布局、语言等不同视角，分别提出“首尾俱应，乃为尽善”“一与不一相辅成文”“诗歌乃反常之语言”等深富辩证意蕴的命题，以揭橥文本内在秩序与审美空间的紧张与充实。一反以“有物”论为代表的“五四”启蒙主流文本工具化认识论倾向，而真正把文本当作审美载体看待。

第四章 文学的创作主体：“妙悟”与“力学”

钱锺书文本中存在一个重要理念：“文人为高出学人”，两者的区别就是“才”：“诗有别才”，以致“艺之成败，系乎才也”。钱锺书语意中的“才”，不是一般意义上的能力，而是人最高层面的那种超越性智能，即中西神秘主义诗学所强调的“悟性”、“直觉”，它是审美创造的关键。同时他又认为“夫悟而曰‘妙’，未必一蹴即至也”，“悟亦必继之以躬行力学”，具体途径乃“化书卷见闻作吾性灵”，强调文化积累与后天学习对于创作主体的重要性，由此与神秘主义区别开来。

第五章 文学创作：“得心应手”

文学实际是一个“得心应手”的具形化过程。钱锺书猛烈批评感伤主义“执情强物”创作方法，而对具有直觉主义倾向的“即物生情”观却大加推崇，要求文学应创造美的“妙境”，而不是简单机械的“镜子”式模仿与反映。“得于心”还得“应于手”，钱锺书以为应“执心物两端而用厥中”，而不能像克罗齐那样“执心弃物”。本质上这是一种艺术形塑的过程，有才情更需技巧：“歌者情感之艺术表现也”。其创作真实体现了这一智性化倾向，是中国现代理性主义文学思潮的有力组成部分。

第六章 文学在“对话”中发展

在钱锺书看来，文学应该按照艺术的内在规律与审美尺度判定价值，并在古今、中西、学科的“对话”交流中发展自身。于是从纵的维度，他为“复古”论辩护，反对以进步主义的“后来居上”的价值观为尺度裁断文学优劣，并对建基在功利观上的白话文、新文学持批评态度，而对不求创新，一味剽窃的“仿古”风习深恶痛绝；从横的维度，他强调“打通”与“对话”，主张文学跨学科、国界的互参、互识、互补与互利，反对自我封闭、固守一隅。这种既坚守又敞开的“对话”原则，正是文学不断发展的内在动因。

第七章 文学的接受与阐释：“作者未必然，读者何必不然”

“作者未必然，读者何必不然”一语蕴含丰富的阐释学思想。它体现了作者—文本—读者之间的三角关系。逻辑起点是作者，通过言意矛盾、非理性力量，反映在文本上，显示审美复杂性，表征文本对作者的超越，为阐释提供必要性与可能性。落脚点是读者，需经历两个循环，一个是文本释义的循环，一个是读者理解的循环，前者为寻求“正解”，后者则为突破“正解”，表征读者对文本的超越。三者之间互为主体，双向超越，形成一种循环反复的对话关系。而中心是文本，一切都紧紧围绕审美复杂性的形成、构成与理解展开。其中内含古今中外各种阐释理念，融化于钱锺书对各种文化文学现象的理解与阐释之中。钱锺书的文学阐释论是其对整个“文学性”认知的全面回顾与综合。

结论部分，总结概括钱锺书文学思想的精神品格及其意义与价值。

The unswerving discussion and pursuit of the common "poetic heart" and "literary heart" of mankind runs through the theoretical texts of Qian Chongshu, forming a broad and profound ideological system, and its purpose shows the obvious deviation and correction intention of the mainstream utilitarian literary tendency of May Fourth. This achievement takes aesthetics as a clue, focusing on the nature, text, creation, development and interpretation of literature, specifically sorting out and analyzing Qian Chongshu's understanding, attitude, method and intention on these issues, as well as the historical and cultural context and academic genealogy of its formation, paying special attention to its characteristics of communicating China and the West and integrating ancient and modern, so as to detect and grasp the causes, characteristics and significance of Qian Chongshu's unique literary choices and ideological tendencies. Thus fully demonstrating its outstanding contribution and historical status in the history of modern Chinese literary theory. The specific content is as follows: Introduction to the relevant research results, and explain the origin, value, method and innovation of writing. Chapter 1 Qian Chongshu's Academic Survival and Theoretical Form Qian Chongshu's unique academic survival context, such as his family origins, academic experience, academic experience, and social and cultural changes, actively participates in his ideological construction and endows him with a unique "modern" character. It presents such a complex situation, on the one hand, because the "understanding of the world" is only a "poetic understanding", so "shameless fragmentation", attachment to phenomena, and deconstruction of the system become "the attitude contained in the article"; On the other hand, in the depths of the former, there is also an underlying system that takes aesthetics as a foothold and constantly explores literary laws and phenomena. These two aspects are opposite, forming a paradoxical existence, showing the inherent tension of Chin Chongshu's literary thought. Chapter 2 The "Definite Reference" of Literature: The unique ideological method and aesthetic choice of "literacy" determine Qian Chongshu's relativist understanding of literature: "existential judgment and value judgment are one", but "although literature has no definition", it is "inherent in the definite meaning". According to the former, he communicates literature with socio-cultural systems, indicating its psychological characteristics. According to the latter, he connects literature with philosophy, history, emotional experience, etc., highlighting its image, virtuality and emotion; It also compares and distinguishes literature from Zen, music, painting and other art categories, emphasizing its linguistic characteristics. This relativist treatment of literature is consistent with the attitude taken by Western formalism towards literature at the same time: fully considering the complexity of literature, not giving a clear definition, but only exploring its "literary nature", thus avoiding deterministic and absolutist tendencies. At the same time, just as the latter is committed to refuting the "historical or ideological utilitarian view" in the West, Qian Chung-shu bases himself on the local context and violently attacks the Chinese form of the "utilitarian view", trying to establish literature as its own independent status. Chapter 3 Literary Texts: The aesthetic intention of the "literary" cognition of aesthetic value structure is reflected in the textual view of Qian Chongshu, that is, the text is regarded as an aesthetic value structure, rather than a container for "carrying things" or "carrying roads" as the mainstream has always believed. In this regard, he used dialectical thinking as a theoretical lens to expound it. First of all, he opposed the division of "subject matter and genre or form into dualities", pointing out that "words are things, and tables are inside", and the two are opposed and unified, and cannot be separated externally; Drawing on the practice of hierarchical analysis of texts as a different qualitative whole, the text is divided into three levels: phonetics, semantics and verve, the former two and the latter are real and virtual, complementing each other. Then, from different perspectives such as plot, layout, and language, he puts forward propositions with profound dialectical meanings, such as "the beginning and the end are perfect", "one and the different complement each other", and "poetry is the language of abnormality", so as to reveal the tension and enrichment of the internal order and aesthetic space of the text. Contrary to the "May Fourth" Enlightenment mainstream text-instrumentalization epistemological tendency represented by the theory of "things", it really treats texts as aesthetic carriers. Chapter Four: The Subject of Literary Creation: There is an important concept in the text of "Miaowu" and "Mechanics" Qian Chongshu: "Literati are higher than scholars", and the difference between the two is "talent": "poetry has different talents", so that "the success or failure of art depends on talent". The "talent" in the meaning of Qian Chongshu is not ability in the general sense, but the transcendent intelligence of the highest level of man, that is, the "understanding" and "intuition" emphasized by Chinese and Western mystic poetics, which is the key to aesthetic creation. At the same time, he also believes that "enlightenment and 'wonderfulness' may not be achieved overnight", "enlightenment must be followed by the practice of mechanics", and the specific way is to "transform the book into a spiritual spirit", emphasizing the importance of cultural accumulation and acquired learning to the creative subject, thus distinguishing it from mysticism. Chapter Five: Literary Creation: "Handy" Literature is actually a "handy" materialization process. Chin Chung Shu fiercely criticized the sentimental method of "clinging to strong things", but greatly promoted the intuitive concept of "that is, things and feelings", demanding that literature should create a "wonderful realm" of beauty, rather than a simple mechanical "mirror" imitation and reflection. "To gain from the heart" must also be "to be in the hand", and Qian Chongshu believes that it is necessary to "cling to both ends of the object and use it", rather than "clinging to abandoning things" like Croce. In essence, this is a process of artistic formation, and talent requires more skill: "the artistic expression of the singer's emotions is also". His creation truly embodies this intellectual tendency and is a powerful part of modern Chinese rationalist literary thought. Chapter Six: Literature Development in "Dialogue" In Qian Chongshu's view, literature should judge its value according to the intrinsic laws and aesthetic scales of art, and develop itself in the "dialogue" and exchange between ancient and modern, Chinese and Western, and disciplines. Therefore, from the vertical dimension, he defended the "retro" theory, opposed the use of progressive "later" values as the yardstick to judge the superiority and inferiority of literature, and took a critical attitude towards vernacular literature and new literature based on utilitarian views, and deeply abhorred the "antique" custom of not seeking innovation and blindly plagiarizing; From the horizontal dimension, he emphasizes "opening up" and "dialogue", advocates interdisciplinary literature, mutual understanding, complementarity and mutual benefit of national boundaries, and opposes self-isolation and sticking to a corner. This principle of "dialogue", which is both adhered to and open, is the intrinsic motive for the continuous development of literature. Chapter 7 Reception and Interpretation of Literature: "If the author is not necessarily, why should the reader not" and "The author is not necessarily, why should the reader not" contain rich hermeneutic ideas. It embodies the triangular relationship between author-text-reader. The logical starting point is that the author, through the contradiction of speech and irrational forces, is reflected in the text, showing the aesthetic complexity, characterizing the transcendence of the text to the author, and providing necessity and possibility for interpretation. The foothold is the reader, who needs to go through two cycles, one is the cycle of text interpretation, and the other is the cycle of reader's understanding, the former is to seek "correct solution", the latter is to break through the "correct solution" and represent the reader's transcendence of the text. The three are the main subjects of each other, transcending in both directions, forming a cyclical and repeated dialogue relationship. At the center is the text, and everything revolves around the formation, composition and understanding of aesthetic complexity. It contains various interpretive concepts from ancient and modern, Chinese and foreign, which are melted into Qian Chongshu's understanding and interpretation of various cultural and literary phenomena. Chin Chongshu's literary hermeneutics is a comprehensive review and synthesis of the entire "literary" cognition. The concluding part summarizes the spiritual character of Qian Chongshu's literary thought, as well as its significance and value.（AI翻译）