明代复古主义诗学的“意象”理论  

Concept of"Image"in the Ming Dynasty's Poetic Classicism

作　　者：李旭[1] 

机构地区：[1]五邑大学中文系,广东江门529020

出　　处：《南昌大学学报（人文社会科学版）》2010年第1期102-107,共6页Journal of Nanchang University(Humanities and Social Sciences)

摘　　要：明代复古主义诗学的意象论归纳起来有三方面的含义:意象是意与象二者的结合;意象是一;意象俱无。进而从主体与世界诗的审美关系的凝结——情意物象之诗化融合的角度,由意象而把握中国诗歌——抒情诗的文体性质(纯体)。与英美意象主义诗学比较,Image着重在客观画面(意识中不同感性事物和经验的联想与呈现),而排斥主观情意的抒发;而明代复古主义诗学的意象是意与象的凝结、冥合,最终达到意象俱无的境界,其中始终依赖情兴的融会力量。The concept of ＂image＂ in the Ming Dynasty＇ s poetic classicism can be divided into three aspects ： the image as the combination of sensus and figure,the image as the whole,and the image as nothing. From the view of poetic integration of emotion and image, which consolidates the aesthetic relations of principal and world poetry, image is the clue to grasp Chinese poet~,, especially the style of lyric. Compareing with western poetic imagism, ＂image＂ emphasizes objective frame and excludes subjective emotional expressions; ＂image＂ in the Ming Dynasty＇ s poetic classicism is about the integration of sensus and figure, finally reaching the frontier of ＂image as nothing＂ , accompanied with the power of emotional mixture.

关 键 词：明代 意象 古典诗性美 复古主义诗学 Image比较 

分 类 号：I052[文学—文学理论]