论高友工“抒情美典”视域下的《文赋》  

On Essay on Literature from the Perspective of Kao Yu-Kung's Theory of“Lyrical Aesthetics”

作　　者：韩镇宇 HAN Zhenyu(College of Humanities,Southeast University,Nanjing,Jiangsu 211189)

机构地区：[1]东南大学人文学院,江苏南京211189

出　　处：《中国文学研究》2023年第2期103-109,共7页Research of Chinese Literature

摘　　要：高友工在其所建构的“中国抒情美学传统”中将《文赋》视为中国文学理论走向“抒情”的一篇宣言,《文赋》标志着“抒情美典”框架的基本形成。一方面“,抒情美典”以保存创作主体的自我现时经验为目的,以“内化”和“象意”作为基本方法,恰好对应《文赋》所面对的“意”何以“称物”、“文”又何以“逮意”这两个基础性的问题;另一方面,《文赋》作为一篇“抒情式的批评”,以创作过程为研究对象,通过“想象语言”深入创作主体的经验世界,也展露出陆机本人深沉的现实关怀和生命沉思。In the"Chinese Lyrical Aesthetic Tradition"constructed by Kao Yu-Kung,Essay on Literature is regarded as a decla-ration of the trend of Chinese literary theory towards"Lyricism",which also marks the basice formation of the framework of"Lyrical Aesthetics".On the one hand,"ILyrical Aesthetics"aims to preserve the self-current experence of the erealive subject,and takes"internalization"and"symbolization"as the basic methods,which exactly corresponds to the two basic problems faced by Essay on literature,that is,how"Meaning"can be"Opposite to Things"and how"Text"can"Catch Meaning".On the other hand,Essay on Literature as a"Lyrical Criticism",takes the creative process as the research object,penetrates into the experience world of the creative subjeet through"Imaginative Language"。and also reveals Lu Ji's deep practical concerm and life meditation.

关 键 词：高友工 “抒情美典” 《文赋》 “抒情式的批评” 抒情传统 

分 类 号：I01[文学—文学理论]