个体、时间性与悲情意识——《二十四诗品·悲慨》的精神境界  

Individuality,Timeliness and Pathos Consciousness-The Spiritual Realm of Grief in Twenty-four Poems

作　　者：李旭阳 Li Xuyang

机构地区：[1]中国社会科学院文学研究所

出　　处：《理论界》2021年第3期95-99,共5页Theory Horizon

基　　金：中国社会科学院博士后创新项目“汉末魏晋悲情审美意识发展史研究”(ZBH20191001)的阶段性成果。

摘　　要：《二十四诗品》中的“悲慨”一品对于中国美学中悲情意识的研究具有重要且特殊的意义。作为二十四诗品的一品,悲慨既是一种风格论的展现,亦是一种意境的展现。“悲慨”一品以景写情,情景交融,在意境论下完成了情感的表达。这种悲情既有人生之悲,亦有社会之悲,呈现为对命运的对抗,展现了作为个体的无奈。在这种对抗中,对时间性的关注是中国的悲情意识与西方悲剧精神的一个重要区分,这在中国的传统叙述中集中表现为叹逝。而“悲慨”一品,很好地阐释了这一情感表达,为悲情意识的探究提供了一种重要文本和思路。The "Grief" in Twenty-Four Poems has important and special significance for the study of the pathos consciousness in Chinese aesthetics.As one of the twenty-four poems,grief is not only a stylistic expression,but also a kind of artistic conception.Grief uses sceneries to describe emotions,blending scenes,and expressing emotions under the theory of artistic conception.This kind of sadness has both the sadness of life and the sadness of society.It is presented as a confrontation against destiny,showing the helplessness of an individual.In this kind of confrontation,the focus on timeliness is an important distinction between Chinese pathos consciousness and Western tragic consciousness,which is concentrated in the sigh of passing away in Chinese traditional narratives.Grief interprets this emotional expression well and provides an important text and train of thought for the exploration of the sense of grief.

关 键 词：二十四诗品 悲慨 个体 时间性 悲情意识 

分 类 号：B83[哲学宗教—美学]