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本文集中讨论王昌龄诗学研究中两个紧密相关、尚待探索的重要课题:一是王氏《论文意》中多义的“意”所隐藏的系统文学创作理论,二是王氏“意”与唯识八识的“意”、“意识”的内在关联。为了破解“意”的多重意义,笔者首先从上下文来揣摩、判断“意”的不同指涉,然后在一个更广泛的哲学、美学背景下,分析王氏如何从佛、道两家“意”的角度来观察创作过程的不同阶段以及它们之间的关系,并作了充分阐述。本文还对王氏的“意”和唯识八识的“意”、“意识”进行了平行比较,发现后者很可能为王氏提供了观察文学创作过程的新视角,帮助他改造陆机和刘勰“意-象-言”说,在意和象之间加入“境”而建构起“意-境-象-言”的新框架,从而发展出自己独特的、带有明显佛教风格的文学创作论。
This article focuses on two closely related and yet to be explored important topics in the research of Wang Changling’s poetics: the first is the systematic literary creation theory hidden in the polysemic “meaning” in Wang’s “Thesis” and the second is Wang’s “Intention” and the “Only”, “Intention” and “Consciousness”. In order to solve the multiple meanings of “meaning ”, the author first try to figure out the context from the context to judge the different meanings of “meaning ”. Then, under the broader philosophical and aesthetical background, At the same time, we can observe the different stages of the creative process and the relationship between them and give a full explanation. This article also compares Wang ’s “meaning ” with the “consciousness ” and “consciousness ” of the concept of consciousness, and finds that the latter is likely to provide Wang Wang with a new perspective to observe the process of literature creation , To help him transform Lu Ji and Liu Yi’s “Yi-Xiang-Yan”, saying that the new framework of “Yi-Jing-Xiang-Yan” Out of their own unique, with a clear Buddhist style of literary creation theory.