论《文心雕龙·隐秀》释义  

On the Interpretation of “the Latent and the Outstanding” in The Literary Mind and the Carving of Dragons

作　　者：蒋浩伟 

机构地区：[1]四川外国语大学中文系,重庆400031

出　　处：《安庆师范大学学报（社会科学版）》2017年第3期22-26,共5页Journal of Anqing Normal University：Social Science Edition

摘　　要：《文心雕龙·隐秀》的释义,一直以来诸家各有论断,大体可分为修辞手法、文体风格、审美风格、审美意象、哲学思维五个维度上的释义。这五类释义看似差别甚大,但都隐涵着一个基础,即《易经》卦象体系中蕴含的无穷意义与有限呈现方式间的有机关系。把此"象意"结构关系落实到《文心雕龙》的"文"之论域中,"隐"可看作文外之意,"秀"可看作"隐"的显附呈现,前者落实于文章总体的风貌,后者落实于局部的修辞手法或形象,如此生成一个主导性的关联意义场域,容纳多元意义,让"隐秀"之义"有秀有隐"。The term of＂the Latent and the Outstanding＂in The Literary Mind and the Carving of Dragons has incited generations of scholars to give their interpretations that can be divided into five dimensions： rhetoric, stylistic style, aesthetic style, aesthetic imagery and philosophical thinking. It seems that there are big differences, but there exists a basis, the organic relationship between infinite meaning and limited presentation in The Book of Changes. It is reasonable to transform ＂structure of imagery and idea＂ into ＂wen＂. ＂The latent＂ can be regarded as the connotation of meaning implicit in the writings, and ＂the outstanding＂ as the specific presentation of the former. ＂The latent＂ is implemented in the overall style of the article, and ＂the outstanding＂ in the local rhetoric or aesthetic imagery. This generates a dominant associative meaning field, accommodating multiple ambiguities, and making it both latent and outstanding.

关 键 词：刘勰 《文心雕龙》 隐秀 言意结构 

分 类 号：I206.2[文学—中国文学]