中国古典文论中的视觉性隐喻——以《文心雕龙》为例  

The Visual Metaphors in Chinese Classical Literary Theory——Carving a Dragon at the Core of Literature as Example

作　　者：彭英龙[1] 

机构地区：[1]浙江大学传媒与国际文化学院,浙江杭州310028

出　　处：《新疆大学学报（哲学社会科学版）》2016年第1期102-108,共7页Journal of Xinjiang University(Philosophy and Social Sciences)

摘　　要：一个广泛流传的说法是中国人主要以味论文。但对《文心雕龙》等著作的考察表明,古典文论中的视觉性隐喻同样普遍。以莱考夫和约翰逊的"概念隐喻"说为理论依据,可以发现,视觉隐喻与空间隐喻不可分割。同时,视觉隐喻的使用,多与对文辞的传达意义的功能有关。主要的概念隐喻有:"文中情、理的传达是隐显"、"对情、理的理解是看见"、"文辞与情、理的关系是表里"、"理解能力的高下是深浅"等。各个概念隐喻之间通常是相容的,但也有局部的不一致;同时,这些应用于文论中的概念隐喻有着具身体验的根源和更大的文化背景的支撑。There is a widespread theory which states that the Chinese take taste experience as the foremost source in literary criticism. Yet an investigation of Carving a Dragon at the Core of Literature shows that visual metaphors are also widespread in classic literary theories. Based on Lakoff and Johnson＇s theory of conceptual metaphor, this paper finds that visual metaphors are inseparable from spatial metaphors. The use of visual metaphors primarily highlights the function of meaning conveyance of literary works. The important metaphors are： sense and meaning is conveyed in implicitness and explicitness; sense and meaning is understood in seeing; relations between words and sense and meaning are internal or external; ability to understand is deep or shallow. These conceptual metaphors are largely mutually compatible, yet with some discrepancies at local places. They are all grounded in physical experiences and the wider cultural background.

关 键 词：隐喻 文论 视觉 文心雕龙 

分 类 号：I02[文学—文学理论]