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钱锺书曾对中国古代“诗者,持也”这一重要的理论命题进行重新发掘与辨析,提出“抒情通乎造艺”的观点,认为诗歌创作不等于情感宣泄,而是对自然情感的一种艺术加工,从而拆解了自古以来附着于此一命题上的道德主义限定与阐释,使其深蕴的文学本体论意义得以敞开与彰显。钱锺书的理论主张及其创作实践,在情性泛滥的中国现当代文坛,极具现实针对性,构成与之相对的中国现代智性思潮的有机组成部分。
Qian Zhongshu once again excavated and differentiated the important theoretical proposition of “poet and holding also” in ancient China and put forward the opinion that “poetic creation does not mean emotional catharsis” It is a kind of art processing to the natural emotion, thus dismantling the definition and interpretation of moralism attached to this proposition since ancient times, so that the meaning of literary ontology can be opened and demonstrated. Qian Zhongshu’s theory and practice of his writing practice are extremely realistic in the current literary world in China, which constitutes an opposite part of the modern intellectual ideology in China.