器物之喻与中国文学批评——以《文心雕龙》为中心  

The Instrument Metaphor and Chinese Literary Criticism:Based on the Literary Mind and the Carving of Dragons

作　　者：闫月珍[1] 

机构地区：[1]暨南大学文学院

出　　处：《中国社会科学》2013年第6期167-185,208,共19页Social Sciences in China

基　　金：中央高校基本科研业务费专项资金"暨南远航计划"(12JNYH007)的资助

摘　　要：在中国文学批评史上,有以器物及其制作经验喻文的现象,它基于器物制作与文章写作之间在营构和巧饰上的相通之处,是礼乐文明的产物。器物之喻演变为一种文学批评范式,体现了艺术创作对法度的追求和对典范的认可。由器物制作经验建立的术语逐渐固化在语言中,生成了中国文学批评的一些基本概念和范畴。器物之喻打通了文学与雕塑、音乐、建筑及铸造等之间的界限,使得它们的经验可以相互借鉴和延伸。因而,器物制作超越了手艺层面的意义,具有了强大的言说能力。器物之喻是一种普遍性的文学经验,为中西诗学提供了可供沟通的话语,对于反思当前文学艺术所存在的问题依然具有借鉴意义。Comparing an instrument and its manufacturing experience to literature is not new in the Chinese history of literary criticism.Such comparison is based on the similarities between instrument manufacturing and literary writing in composition and decoration,and is a result of the ritual and musical civilization.The evolvement from the instrument metaphor to a literary criticism paradigm reflects the pursuit for norms and the recognition of models of artistic creation.The terms established in the experience of instrument manufacturing gradually become internalized in the Chinese language,giving rise to a number of basic concepts and categories in Chinese literary criticism.The instrument metaphor has broken the barriers between literature and disciplines such as sculpture,music,architecture and founding,enabling them to learn from and extend to each other.Therefore,instrument manufacturing has transcended the significance of the handicraft itself,but has acquired powerful explicability.The instrument metaphor is a general literary experience providing discourse for dialogue between Chinese poetry and Western poetry.It is also of importance for the reflection on the existing problems with contemporary literature and arts.

关 键 词：文心雕龙 器物 法度 典范 隐喻 

分 类 号：I206.2[文学—中国文学]