当一列火车从隧洞钻出时,虽然还有一部分被隧洞掩盖着,但你仍会感到它是一个连续的长列,丝毫没被遮断。这是因为,此刻你的有关知识经验在共时启动,运用联想与想象补足了那一截被掩盖着的部分,这是我们都会有的“知觉感应”。美国心理学家鲁道夫·阿恩海姆在《视觉思维》一书中论述过这种对知觉对象进行“补足”的“隧洞效应”。 如果将这种心理现象引进中学语文阅读教学及课外文学写作和欣赏,你就可能惊起一串彩色的遐思。古今中外有成就的作家无不深谙这种心理效应,他们于创作中着意艺术行藏的分寸,以撩拨欣赏者的好奇、联想、思索。古人云:“意在笔先,神余言外……若隐若现,欲露不露,反复缠绵,终不许一语道破。”关于艺术的藏和露,美国作家海明威也有过一番妙语:“如果一位散文作家对于他想写的东西 When a train is drilled out of a tunnel, although there is still part of it hidden by the tunnel, you still feel that it is a continuous long line and it is not blocked at all. This is because, at the moment, your relevant knowledge and experience are starting up in synchronicity, using associations and imaginations to make up for that part of the concealed part. This is what we all have as “perceptual induction.” The American psychologist Rudolph Arnheim discusses this kind of “tunneling effect” of “supplement” of perceptual objects in “Visual Thinking”. If you introduce this psychological phenomenon into Chinese reading teaching in secondary schools and extracurricular literature writing and appreciation, you may start a series of colorful reflections. Writers of all ages, both at home and abroad, are well aware of this psychological effect. In their creations, they are interested in the content of art, so as to inquire about the audience’s curiosity, association, and thinking. The ancients said: “The intention is to be the pen first, and God is more than to say... If you are looming, you don’t want to be exposed, and you will not be able to say anything.” With regard to the art of hiding and revealing, the American writer Hemingway also had an inquisitive slogan: "If An essayist for what he wants to write