鲁迅的白描观新论  

On LU Xun's Line-drawing Theory

作　　者：许祖华[1] 

机构地区：[1]华中师范大学文学院,湖北武汉430079

出　　处：《山西大学学报（哲学社会科学版）》2014年第2期131-136,共6页Journal of Shanxi University(Philosophy and Social Science Edition)

基　　金：教育部人文社会科学研究规划基金项目"鲁迅小说修辞的三维透视与现代阐释"(13YJA751056)

摘　　要：鲁迅的白描观,既历史地继承了中国传统文论关于白描的理论成果,更在新的时代发展、丰富、提升了中国传统的白描理论。这正是鲁迅白描观的基本价值。鲁迅白描观对传统的继承,主要表现在修辞学的层面,即:继承了中国传统文论关于白描作为一种艺术手段,其写景、叙事、塑人要符合消极修辞与积极修辞的基本要求;鲁迅白描观的创造性和深刻性则表现在:不仅突破了传统文论将白描局限于文学艺术的手段的窠臼,以宏阔的视野,将白描提升为一种风格,而且,明白地提出了使用白描这种艺术手段的基本前提和原则——有真意。LU Xun＇s line -drawing theory not only inherited the related ideas in Chinese literary theory, but also enriched and promoted those ideas in the new era. This represents the fundamental value of his line - drawing theo- ry. The inheritance LU Xun received from the traditional ideas is mainly of rhetoric. That is, he adopted the idea that is line -drawing as an artistic technique should fulfil the basic requirements of positive and negative rhetoric in its description of events, scenes and persons. His line - drawing theory is creative and profound, for it not only broke through the set pattern of traditional literary theory which confined line - drawing to a technique of art and litera- ture, but also elevated it as a style. LU Xun clearly stated that containing real emotions is the premise of using line -drawing as an artistic technique.

关 键 词：鲁迅 白描 风格 原则 

分 类 号：I210.3[文学—中国文学]