文学语言新解——由“文不逮意”浅谈文学语言的超越  

A New Interpretation of Literary Language——A Brief Discussion on the Transcendence of Literary Language

作　　者：吴迪迪 WU Didi(School of Culture&Media,Huanghuai University,Zhumadian 463000,Henan,China)

机构地区：[1]黄淮学院文化传媒学院,河南驻马店463000

出　　处：《安康学院学报》2021年第3期81-86,92,共7页Journal of Ankang University

基　　金：2021年度河南省高校人文社会科学研究一般项目“精准扶贫下的地区特色文化产业集群发展研究——以河南省×××为例”(2021-ZDJH-208)。

摘　　要：语言虽然是人们日常生活中不可或缺的交际工具,但它有时并不能完全表达人们想要表达的意思,这也就是自古以来学者们一直在讨论的言意之辨问题。陆机早在《文赋》中就提出“恒患意不称物,文不逮意”这一理论,道出了作家在创作过程中的无奈和苦恼,但中国语言向来多义且模糊,而文学作品又多讲求含蓄内敛,这就使得言意矛盾成为必然。文学语言如何处理言意矛盾?古人早有应对之策。如采取立象、留白和修辞、陌生化等手法来创新表现形式,增加审美难度,延长审美时间,在审美距离中给人以想象和思考的空间,不仅达到了对言意矛盾的消解,也构成了中国文学独特的艺术魅力和审美韵味。Language is an indispensable communication tool in People’s Daily life,but it cannot fully express sometimes people want to express meaning,this is since the ancient times,scholars have been discussing the problem of word and meaning of Lu Ji’s early has put forward the constant risk of meaning in the lyrics don’t say,incompetent meaning of the theory,says the writer in the writing process is helpless and upset,but the Chinese language has a history of polysemy and fuzzy,and literary works more implicative inside collect,this makes the language become inevitable contradictions.How does literary language deal with the contradiction between words and meanings?The ancients had a solution,such as take serves as white space and rhetoric to the innovation of defamiliarization techniques such as forms,increase the difficulty of aesthetic,to extend the time of the aesthetic,give a person with imagination and thinking in the aesthetic distance of space,not only to the resolution of conflict and meaning,Chinese literature also the unique artistic charm and aesthetic appeal.

关 键 词：文不逮意 言意矛盾 文学语言 审美 

分 类 号：I206[文学—中国文学]