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刘勰《文心雕龙》是中国古代文论中逻辑严整明晰的著作,但是它的逻辑不同于西方形而上学的逻辑。《辨骚》篇在全书中的重要地位显示出,中国传统文论不作形而上学的抽象论证的特色。其理论所阐释的,不是西方传统形而上学的逻辑关系,而是中国传统实践理性思维由技艺和操作环节体验的逻辑关系。这是一种实践理性。刘勰在《文心雕龙》中把《辨骚》作为文学从广义文章向审美性的文学发展的典范树立起来,是中国文论对文学的文学性的一个重要认识。《辨骚》篇在《文心雕龙》中的突出地位,使得中国文学批评史上逐步树立起诗骚并重的文学观念,并且以《离骚》和楚辞的文学性、审美性来阐释《诗经》的文学意义,开拓了中国文学批评史的新的一页。
Liu Xie’s “Wen Xin Diao Long” is a well-written and clear book in Chinese ancient literary theory, but its logic is different from the logic of Western metaphysics. The important position of “Discerning Sao” in the book shows that Chinese traditional literary theory does not feature abstract proof of metaphysics. The theory explains that it is not the logical relationship of Western traditional metaphysics, but the logical relationship that traditional rational thinking in China practices through experience and skill. This is a kind of practical reason. In the Literary Mind and the Carving of Dragons, Liu Xie established “Literary Interpretation” as a model of the development of aesthetic literature from the generalized essay, which is an important understanding of the literary nature of Chinese literary theory. The prominent position of “Shuo Sao” in Wen Xin Diao Long makes the literary and poetic concepts of both poetic genre and poetic poem be gradually established in the history of Chinese literary criticism. And the literary and aesthetic qualities of Li Sao and Chu Ci are used to explain “ ”The literary significance, opened up a new chapter in the history of Chinese literary criticism.