无论是传统的阐释学或是接受美学,都没有将读者作为作品意义的唯一创造者。这也许是为了避免了读者权力的过分膨胀,以致出现完全随意的主观主义。由此,伟大的思想家们不论偏激还是客观的批评理论,尽管在不同程度、不同层面上都肯定了读者对于文学批评的意义,但读者在获得肯定的同时也受到许多局限,甚至陷入迷惑、困境与悖论,犹如张扬个性却带着镣铐的飞翔。 Neither the traditional hermeneutics nor the aesthetics of reception have the reader as the only creator of the meaning of the work. This may be to avoid excessive expansion of reader power, resulting in completely arbitrary subjectivism. As a result, great thinkers, regardless of extreme or objective theories of criticism, have affirmed readers’ meanings for literary criticism in varying degrees and at different levels. However, readers are subject to many limitations while affirmed, and are even confused and predicament And paradox, like a publicity but with shackles flying.