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作 者:王勇[1] WANG Yong
机构地区:[1]安徽大学文学院
出 处:《暨南学报(哲学社会科学版)》2020年第7期11-22,共12页Jinan Journal(Philosophy and Social Sciences)
基 金:国家社会科学基金重点项目“中华美学精神的诗学基因研究”(批准号:19AZW001)。
摘 要:“工”“拙”作为中国古典文论的一对范畴,具有对立、转化与统一的辩证关系。“工拙”在魏晋时期被用于文学批评,经过沈约、刘勰、钟嵘等人的发展,确立了以辞藻、声律、修辞和用典等文学形式为核心的理论内涵。在文学创作上,六朝人实践了追求形式美的主张,唐人因袭此风,树立了以“工”为美的审美典范。到了宋代随着儒学复兴,理学家构建了别开生面的思辨哲学,宋人取资于理学建构自己的诗学理论。具体来说,理学的气论哲学与心性论哲学都指向了道德本体,促使宋人论诗偏向了主体精神人格与诗文内容的讨论。故而宋人采取了反拨与消解两种策略,通过标举“拙”来否定六朝对文学形式的追求,同时从哲学本体上消解了文学的审美价值,以内容作为文学价值的判断标准。至此,中古与宋代“工拙论”的理论重心与理论旨趣便呈现出迥异的面貌。As a pair of aesthetic categories in the theory of classical Chinese literary,“Gong”and“Zhuo”have the dialectical relationship of opposition,transformation and unity.Once used in literary criticism during the Wei and Jin dynasties,“Gongzhuo”was identified its theoretical connotation with the literary forms such as words,rhythmic,rhetoric and the use of classics as the core after being developed by Shen Yue,Liu Xie,Zhong Rong and others.In literary creation,people in the six dynasties practiced the idea of pursuing formal beauty.Following this trend,people of Tang dynasty set up an aesthetic model of“Gong”as beauty.In Song dynasty,with the revival of Confucianism,neo-confucianists constructed a new philosophy of critical thinking so that people of Song dynasty are able to set up their own poetic theory on the basis of neo-confucianism.To be specific,the philosophy of qi and the philosophy of disposition of neo-confucianism all pointed to the moral noumenon,which made the poems of Song dynasty incline to the discussion of the subject’s spiritual personality and poetic content.Therefore,people of Song dynasty adopted two strategies:counteraction and digestion,which negated the six dynasties’pursuit of literary form by marking“Zhuo”.At the same time,they eliminated aesthetic value of literature from philosophical ontology and regarded the content as the criteria of literary value.So far,the theoretical emphasis and purport of“Gongzhuo”theory in six dynasties and Song dynasty thus present sharply different states.
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