“含蓄”与“含混”的中西互鉴——以燕卜荪、张戒、钱锺书的相关论述为中心  

The Mutual Learning between Chinese"Implicitness"and Western"Ambiguity"——Centered on the Relevant Expositions of William Empson,Zhang Jie and Qian Zhongshu

作　　者：樊梦瑶 Fan Mengyao

机构地区：[1]华东师范大学中文系,上海200241

出　　处：《中国文学批评》2024年第2期101-108,190,191,共10页Chinese Journal of Literary Criticism

摘　　要：“含蓄”与“含混”是中西诗学视域下重要的概念范畴,二者具有较近的亲缘关系,但也存在着区别。英国文论家燕卜荪的《含混七型》一书将“含混”理论归结为七种类别。我国宋代诗论家张戒在《岁寒堂诗话》中强调了“含蓄”诗学思想。无独有偶,钱锺书更是从“含蓄”诗学思想引申出“语义双关”“曲喻”“比喻之多边”等修辞技法,丰富和发展了燕卜荪的“含混”理论。二者的区别之处在于“含蓄”更强调用词方面的委婉曲折,“含混”则更着重语义上的朦胧性。在当代中西文论重要范畴的建构进程中,“含蓄”与“含混”的诗学思想均发挥着重要的价值。Implicitness"and"ambiguity"are important conceptual categories from the perspective of|Chinese and Western poetics.They are closely related,but there are also differences.William Empson's book Seven Types of Ambiguity presents seven types of the theory of"ambiguity."Zhang Jie,a poet of the Song Dynasty in China,emphasized the idea of implicit poetics in Sui Han Tang Poetry Notes.Qian Zhongshu has derived different rhetorical techniques from the poetic thought of"implicitness,"enriching and developing Empson's theory of"ambiguity.

关 键 词：含蓄 含混 中西诗学 比较研究 

分 类 号：I207[文学—中国文学]