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以“境界”说为核心的概念群,是中国文学理论现代化过程中较为突出的理论,它们是由王国维、朱光潜等中国现代美学思想家提出、构建出来作为文学本体阐释的概念群,这个概念群经过两次“形象思维”大讨论的烘染,已经固化为现代中国文艺理论的核心成果。然而,这个以表现情感的视觉化形象为主要内涵的概念群,并非中国传统文论的发展,也不是西方文论的主流,“境界”、“意象”等概念的含义,也离传统文论中相同概念的含义相去甚远。它是中国文论在现代化的过程中,与西方哲学美学对话的结果,中国传统的“境界”、“意象”概念,其含义已完全被西方认识论的“感性”与“直观”替换。这个理论,有其将各种中西学说明晰化的优势,但也因为离具体的文学实践较远,其对文学及艺术的理解,显得简单僵化,甚至有虚构的意味。
The conceptual group with “state ” as the core is a prominent theory in the process of the modernization of Chinese literary theory. They are proposed by Chinese modern aesthetical thinkers such as Wang Guowei and Zhu Guangqian and constructed as conceptual groups for the interpretation of literary ontology. The concept cluster has been cured twice as the core achievement of the theory of modern Chinese literature and art after twice the discussion of “image thinking”. However, the conceptual group whose main content is the visual image of expressing emotion is not the development of Chinese traditional literary theory nor the mainstream of western literary theory. The concept of “state” and “image” Far from the meaning of the same concept in traditional literary theory. It is the result of the dialogue between Chinese literary theory and the western philosophical aesthetics in the process of modernization and the concept of “state ” and “image ” in Chinese tradition. Its meaning has been completely confused by “Intuitive” replacement. This theory has its own advantages of clarifying all kinds of Chinese and Western learning. However, because of being far from specific literary practices, its understanding of literature and art seems to be simple and even fictitious.