论魏晋意象批评的主体“在场性”  

On the Subjectivity of“Presence”of Image Critique in Wei and Jin Dynasties

作　　者：乔东义[1] 陈雅歆 Qiao dongyi;Chen Yaxin(School of Liberal Arts,Anhui Normal University)

机构地区：[1]安徽师范大学文学院

出　　处：《美学与艺术评论》2024年第2期153-164,258,259,共14页Journal of Aesthetics and Art Review

基　　金：国家社科基金项目(22BZX117);安徽高校人文社科项目(SK2020A0062)阶段性成果。

摘　　要：“意象批评”是魏晋时期重要的一种文艺批评方式,即从一种意象思维与喻象思维出发,通过营造具体的“意象”,来揭示批评对象的特征。这种批评方式在魏晋时期之所以兴盛,可能需要考虑三点原因:其一,“文艺的自觉”与文学价值的被发现;其二,批评主体的“在场”与批评重心的“滑动”,使得文学品鉴和“意象批评”活动中有彰显自我价值的隐情;其三,“以象拟象”构成“意象批评”的简易化“组合结构”和“同质化”特征,使得“意象批评”较为容易例举和随意点染。从叶燮对“意象批评”的“徒取以为谈资”的评价入手,揭示出意象批评这一方法背后的重要价值意义,即意象批评凸显了批评主体的“在场性”,是批评主体通过与他人艺术生命的碰撞,以营构审美意象而实现对自我艺术生命反观的过程。“Image critique”is an important method of literary criticism in Wei and Jin dynasties.Three reasons may need to be considered for the prosperity of this method in the Wei and Jin dynasties:first,the“consciousness of literature and art”and the discovery of literary value;second,the“presence”of the subject of criticism and the“sliding”of critical images.It makes that one can demonstrate self-worth in literary appreciation and“Image critique”activities.Third,“simulacra”constitutes the simplified“combinatorial structure”and“homogenization”characteristics of“Image critique”,which makes image criticism easier to cite and touch at will.Starting with Ye Xie's evaluation of image criticism,this paper reveals the important value behind the method of“Image critique”,that is,“Image critique”highlights the“presence”of the subject of criticism.It is a process in which the subject of criticism reflects the life of self-art by colliding with the artistic life of others and constructing aesthetic images.

关 键 词：魏晋 意象批评 主体性 以象拟象 

分 类 号：B83-0[哲学宗教—美学] I01[文学—文学理论]