中国古典诗歌的双重变奏——主情诗学与主意诗学  

The Changing Duet of Classical Chinese Poetry:Emotional Poetics and Rational Poetics

作　　者：汪军 WANG Jun(School of Humanities,Nanchang University,Nanchang,Jiangxi 330031)

机构地区：[1]南昌大学人文学院,江西南昌330031

出　　处：《汕头大学学报(人文社会科学版)》2024年第10期52-60,95,共10页Journal of Shantou University(Humanities and Social Sciences Edition)

摘　　要：在中国古典诗歌漫长的历史发展过程中,主要有主情和主意两大基本诗学。它们在诗歌特质与艺术审美上迥然有别,主情诗学是直接的情感,兴在象外,主意诗学是间接的哲思,假象见意。二者的创作构思路径也截然不同,前者是情(感性)——因物兴感——情景合一,后者是心性(人格、理性)——假象见意——景中寓情(或理)——反省。从完整宏观的“大诗学”视域出发,把主情诗学与主意诗学、唐诗与宋诗置于动态的历史维度加以考察,分析它们的发展脉络,联系与区别,探讨诗歌本质、审美特征和内部规律。主情诗学与主意诗学共同谱写了中国古典诗歌的双重交响乐章。In the long and rich history of classical Chinese poetry,there are mainly two basic poetics:emotional poetics and rational poetics.They are vastly different in terms of poetic characteristics and aesthetics.Emotional poetics is a direct emotion and affective image is naturally outside,while rational poetics is an indirect philosophical thought and the meaning can been seen through image.Their creative and thinking paths are also completely different.The former is emotion(sensibility)--emotions arising from things--emotions and scenes integrating,while the latter is mentality(personality,rationality)--seeing meaning by using image--emotion(reason)being embedded in scenes--introspection.From a complete and macro perspective of grand poetics,this paper examines the emotional and rational poetics,Tang poetry and Song poetry in a dynamic historical dimension,and analyzes their developments,relationships,and differences,and explores the essence and internal rules of poetry.Both emotional poetics and rational poetics play a changing duet of classical Chinese poetry.

关 键 词：主情诗学 主意诗学 唐诗 宋诗 

分 类 号：I207.2[文学—中国文学]