玄学话语与文学话语的隔膜与转换  

Membrane and Conversion between Metaphysical Discourse and Literary Discourse

作　　者：何长仁[1] 

机构地区：[1]大庆师范学院文学院,黑龙江大庆163712

出　　处：《大庆师范学院学报》2010年第5期68-71,共4页Journal of Daqing Normal University

基　　金：黑龙江省哲学社会科学规划办项目"陶渊明与魏晋玄学关系研究"(08E047)

摘　　要：正始文人以"道"与"自然"为艺术之本体与本源。玄学的生活化,使得玄学话语与文学话语的交融成为可能。纵酒的行径几乎就是"自然"的同义语。阮籍论艺术思维融汇了道家与玄学的思想因素,但此时玄学话语与文学话语在阮籍、嵇康的作品中仍处于混而未分、互相交融、相互渗透的状态。从两晋未以迄东晋,产生了山水画、山水诗和玄言诗。"以玄对山水"是东晋玄言文学兴盛过程中呈现的一种典型的文学话语。玄言诗人与陶渊明代表东晋诗坛,实现了玄学话语向文学话语的转换。Tao and Nature were the two bases of art,considered by Scholars of orthodox.Metaphysics is civilized,so there is membrane between metaphysical discourse and literary discourse.The act of alcoholics seems to be the synonym of Nature.Ruan Ji combined Taoism and Metaphysics while concerning about art theory.In Ruan Ji＇s and Ji Kang＇s works,there are confusion and combination of Metaphysical discourse and literary discourse.Up from the Eastern Jin Dynasty there were landscape paintings,landscape poetry and the Metaphysical poetry.The ＂ Mystery of the landscape＂ is a Metaphysical literature flourished during the presentation of a typical literary discourse.Metaphysical Poets and Tao Yuan-ming--on behalf of Eastern poetry-signify the conversion from Metaphysical discourse to literary discourse.

关 键 词：话语模式 玄学话语 文学话语 

分 类 号：I206.2[文学—中国文学]