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在近代中国意境论建构进程中,林纾的古文意境论在系统性上足可与王国维的词学意境论匹敌。林纾古文意境论的核心是道理和性情两大支柱,其学理的依据来源于传统诗学意境论和宋明理学的性情与道理学说。诗学意境论对林纾古文意境论的影响主要体现在其重视性情以及文体要求上,而宋明理学关于道理、性情等方面的论述则对林纾意境论的逻辑结构、概念内涵及文体要求等方面均有影响。林纾的古文意境论可以是真正立足于中国传统开出的美学理论,但是林纾的根基古文和理学在中国国家与社会的现代转型过程中被时代迅速抛弃了。因此,林纾古文意境论形成之时也正是中国古代意境论终结之时,而王国维承担的使命则是对之进行更新与再造。
In the process of constructing the conception of mood in modern China, Lin Shu ’s theory of the artistic conception of the ancient times is systematic enough to match the literary conception of Wang Guowei. The core of Lin Shu’s artistic conception of mood is the two pillars of reason and disposition. The basis of his theory stems from the theory of the conception of mood of traditional poetics and the theory of temperament and reason of Neo-Confucianism. The influence of poetics on mood theory of Lin Shu is mainly reflected in its emphasis on temperament and style requirements, while the discourse on reason and temperament of Song Ming studies the logical structure, concept connotation and stylistic requirements of Lin Shu’s artistic conception And so on are affected. Lin Shu’s artistic conception can be a truly aesthetic theory based on Chinese tradition, but Lin Shu’s primitive essays and neo-Confucianism were quickly abandoned by the times in the process of the modern transformation of China’s state and society. Therefore, when Lin Shu’s artistic conception of ancient times was formed, it was also the time when the artistic conception of ancient China was over, and Wang Guowei’s mission was to renew and rebuild it.