从感物美学的角度重审“诗可以怨”观念  

Re-examining the Concept of“Poetry-Can-Express-Grievances”from the Perspective of Chinese Sensuous Aesthetics

作　　者：沈晓华[1,2] 杜吉刚 SHEN Xiao-hua;DU Ji-gang(School of Foreign Languages,Nanchang Institute of Technology,Nanchang Jiangxi 330044,China;School of Humanities,Nanchang University,Nanchang Jiangxi 330036,China)

机构地区：[1]南昌理工学院外国语学院,江西南昌330044 [2]南昌大学人文学院,江西南昌330036

出　　处：《廊坊师范学院学报（社会科学版）》2024年第1期20-27,共8页Journal of Langfang Normal University(Social Sciences Edition)

基　　金：江西省高校人文社会科学研究规划基金项目“苏珊·桑塔格文学思想与文学创作研究”(WGW20104);江西省2022年度青年马克思主义者理论研究创新工程“20世纪以来美国华裔英语诗歌中中国形象研究”(22QM66)成果。

摘　　要：自从钱钟书先生的论文《诗可以怨》发表后,“诗可以怨”一直被看作是文学创作的主要动机。从感物美学角度,创作动机可以划分为自然风物触发与社会历史现实触发两种基本类型。研究发现,无论因何而触发,文学创作动机都不仅包括“诗可以怨”,而且还包括“诗可以乐”。由此可见,文论界普遍认同的“诗可以怨”是文学创作的主要动机这一观念其实是不全面的和有局限性的,文学创作的动机实际上是“多元情感并举”的。Since the publication of Mr.Qian Zhongshu's essay“Poetry-Can-Express-Grievances”,this theory has been regarded as the main motivation for literary creation.From the perspective of sensuous aesthetics,creative motivations can be divided into two basic types:natural scenery triggered and social-historical reality triggered.The study has found that the above mentioned two motivations include not only“Poetry-Can-Express-Grievances”theory but also multiple creative motivations such as“Being Enjoyable for Poetry”.Therefore,it can be concluded that the theory of“Poetry-Can-Express-Grievances”as the main motivation of literary creation,which is generally recognized by the literary circles,is actually incomplete and limited.

关 键 词：诗可以怨 感物美学 多元情感并举 创作动机 

分 类 号：I0[文学—文学理论]