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英加登从接受者的角度将文学作品划分为五个层次,但它局限于文学领域,且有无视作品风格层的缺陷。在前人既有认识的基础上,我们可以将所有门类的艺术品由外而内区分为风格层、媒介层、物象层、认识评价层和哲学意味层。艺术家在创作过程中面临着结构题材与结构媒介的双重任务,二者交汇于物象层;操作媒介所呈现的气势与韵致即风格,物象层蕴含认识和评价乃至哲学意味。艺术文本的五层次以物象层为中轴,展现出一种美妙的两极对应:操作媒介与进行认识评价均需要较多知性能力的参与,风格与哲学意味的形成同样体现志性心灵能力的运行;这种内在秩序反映了能指与所指双向的心灵化。
Engadin divides literary works into five levels from the perspective of the recipient, but it is limited to the field of literature, and there is a flaw in disregarding the layers of style of work. On the basis of our predecessors’ understanding, we can divide all kinds of works of art from the outside to the inside into the style layer, media layer, material layer, cognitive evaluation layer and philosophical meaning layer. In the process of creation, artists face the dual task of structural theme and structure medium, and the two meet at the level of material image; the momentum and rhyme style which are presented by the operating media, and the image level contain cognition, evaluation and even philosophical meanings. The five layers of artistic text take the image layer as its axis, showing a wonderful bipolar correspondence: the operation media and cognitive evaluation need more intellectual ability participation, the formation of style and philosophical meaning also embody the operation of the spiritual ability of the mind ; This internal order reflects the two-way spiritualization of the signifier and the signifier.