无论是美国学者阿布拉姆斯(M.H.Abrams)以艺术四要素(作家、作品、读者和自然或宇宙)构成的三角图所概括的四种欧洲文学理论①,抑或是美籍华人学者刘若遇以这四种艺术要素物成的椭圆图所表述的六种中国古典文学理论②,都是仅仅把读者作为艺未作品的承受者,即使触及到读者的反作用也只是限于读者与自然(或社会)的关系之间,而并没有为读者在文学接受过程中的审美感受对作品意义的 Whether it is the four European literary theories outlined by the American scholar MHAbrams in the triangular diagram composed of four elements of art (writers, works, readers and nature or the universe), or Liu Ruoyue, a Chinese-American scholar The six Chinese classical literary theories expressed by the ellipses of these four artistic elements all refer to the reader as the only recipient of the artwork, even if the reaction to the reader is limited to readers and nature (or the society ), But not for readers in the process of aesthetic acceptance of the meaning of the work