比较视域下的“虚实”范畴及其多向呈现  

The Category of"Xushi" and Its Multi-Directional Representation in a Comparative Perspective

作　　者：陈丽丽[1] Chen Lili

机构地区：[1]河南大学文学院,开封475001

出　　处：《中国文学批评》2024年第3期105-113,191,共10页Chinese Journal of Literary Criticism

摘　　要：“虚实”在中西方美学史上皆有深远影响。中国传统文化中,“虚实”的审美内涵极具衍展性,渗透在内容、技法、风格意境等方面,形成了重实、尚虚、虚实相生三种审美指向;西方美学中,“虚实”与摹仿说、现象学、存在主义、虚构性等思想密切相关。“虚实”在中西方文艺创作中各具特色,与各自的哲学根源有关,中国哲学把“道”作为宇宙之本,“虚实”与“阴阳”“有无”等元范畴相通;西方哲学以“存在”为宇宙本体,更加追求主体与存在。The dichotomy of"rushi"(the real and the imaginary)has profoundly influenced aesthetic history in both Chinese and Western cultures.In Chinese tradition,the aesthetic connotation of"rushi"is highly diffractive,permeating aspects such as content,technique,and stylistic conception,resulting in three aesthetic orientations:realism,the imaginary,and the symbiosis between the reality and the imagined.In Western aesthetics,the concept of"the real and the imaginary"is intimately connected with theories of mimesis,phenomenology,existentialism,and fictionality and others.

关 键 词：虚实 中西美学 多向性 根源 

分 类 号：I06[文学—文学理论]