诗化描述与理性论述:《文心雕龙》书写语言的两种模式  

Poetic and Rational Discourse:Two Written Language Patterns of the Literary Mind and the Carving of Dragons

作　　者：吴建民[1] 唐萌[2] 

机构地区：[1]江苏师范大学文学院,江苏徐州221116 [2]南开大学文学院,天津300007

出　　处：《中国文学研究》2016年第1期67-70,共4页Research of Chinese Literature

基　　金：江苏高校优势学科建设工程二期项目阶段性成果

摘　　要：《文心雕龙》作为具有文论和文学双重性质的著作,其文论与文学双重成就的取得与书写语言密切相关。本书书写语言主要有两种模式:一是诗性描述式形象化语言,二是理性论述式理论化语言。描述性形象化语言主要体现为对自然景物的描绘、大量的比喻及典故运用等;论述性理论化语言主要是对理论观点、概念范畴进行阐述诠释,具有明晰性、逻辑性及简约性等特点。由于两种书写语言各有利弊,刘勰采用交互并用之法,取长补短,不但使"体大虑周"的文论思想得到明晰透彻地阐释,而且赋予了本书丰富深厚的文学韵味,从而使《文心雕龙》成为中国古代文论史乃至世界文论史上最具文学性和审美色彩的文学理论宏伟巨著。As a work of literary theory and literarure, The Literary Mind and the Carving of Dragons＇ success was closely related to its written language. There were two main written language patterns in this book： one is descriptive and visual, while the other is reasonable and theoretical. The descriptive language was used to describe scenery, metaphors and quotations. In contrast, the theoretical language was to explain notions and concepts, having clear and logical feature. Since these two language patterns had their own pros and cons, Liu Xie applied them flexibly in this book, which clearly illustrated the notion of thinking thoroughly and reasonably and added profound literary charm into this book. These made it a masterpiece with literary and aesthetic glamor in the history of Chinese literary theory as well as the whole world.

关 键 词：《文心雕龙》 书写语言 模式 

分 类 号：I0[文学—文学理论]