检索
在线阅读 --哲学社会科学版 2020年3期《物性与事性:作为古典诗学“视象”的观看之道》
物性与事性:作为古典诗学“视象”的观看之道--[在线阅读]
张晶1, 李晓彩2
1. 中国传媒大学 人文学院, 北京 100024;
2. 河北工程大学 文法学院, 河北 邯郸 056001
起止页码: 60--69页
DOI: 10.13763/j.cnki.jhebnu.psse.2020.03.007
摘要
客观地讲,"视象"并不是一个传统的诗学范畴,但确实是一个符合中国诗学特质的诗学范畴。对于建立于形象表意文字质料基础上的文学及理论,"视象"审美是很恰切的观看之道。中国诗学的感性、深沉和厚重,需要"物性"与"事性"相统一地"观看"。"物性"是"视象"的存在,是由文学语言复原的感性世界,既包含"显示之物"的本然性,"视觉之物"的可感性,也包含"构成之物"的蕴藉性。"事性"是"视象"的意义和价值,是由人的活动参与构建的理性世界,既包含"视象文本"的逻辑性,"视象主体"的意向间性,也包含"视象传播"的附加性。"物性"是生成"事性"的载体,"事性"是显示"物性"的通道,两者的统一才能构成完整的"视象"艺术,也由此奠定了"视象"诗学的观看之道。

Materiality and Eventuality: A Way of Viewing the “Visual Image” in Classical Poetics
ZHANG Jing1, LI Xiaocai2
1. School of Literature, Communication University of China, Beijing 100024, China;
2. Faculty of Literature and Law, Hebei University of Technology, Hebei 056001, China
Abstract:
Objectively speaking, the "visual image" is not a traditional poetic category, but it is indeed a poetic category in line with the characteristics of Chinese poetics. For a literature and its theories based on the material of ideographic characters, the aesthetics of "visual image" is an appropriate way to examine them. The sensibility, profundity and the massive quality of Chinese poetics require a unified "view" of "materiality" and "eventuality." "Materiality" is the existence of "visual image" and the perceptual world restored by literary language. It contains not only the nature of "displayed object," the sensibility of "visual object," but also the implication of "constituted object." "Eventuality" is the meaning and value of "visual image," which is a rational world constructed by human activities. It includes not only the logicality of "visual image text," the intentionality of "visual subject," but also the additionality of "visual image communication." "Materiality" is the carrier to produce "eventuality," and "eventuality" is the channel to show "materiality." Only the unity of the two sides can form a complete "visual image" art, thus laying the foundation for viewing the poetics of "visual image."

收稿日期: 2020-01-10
基金项目: 国家社会科学基金重点课题项目"中华美学精神的诗学基因研究"(项目编号:19AZW001)

参考文献:
[1][德]马丁·海德格尔.艺术作品的本源[A].林中路[M].孙周兴译.上海:上海译文出版社,2014.
[2][美]道格拉斯·凯尔纳,斯蒂文·贝斯.后现代理论——批判性的质疑[M].张志斌译.北京:中央编译出版社,1999.
[3][英]约翰·伯格.观看之道[M].戴行钺译.桂林:广西师范大学出版社,2005.
[4]周振甫.文心雕龙今译[M].北京:中华书局,1986.
[5]张永清.现象学与西方现代美学问题[M].北京:人民出版社,2011.
[6]张晶.中国古典诗词的内在视象之美[J].社会科学战线,2007(2).
[7]张立文.和合哲学论[M].北京:人民出版社,2004.
[8][古希腊]柏拉图.柏拉图文艺对话集[M].朱光潜译.北京:人民文学出版社,1959.
[9][德]康德.判断力批判[M].邓晓芒译.北京:人民出版社,2017.
[10]黄寿祺,张善文.周易译注[M].上海:上海古籍出版社,2018.
[11][唐]虚中.诗学指南·流类手鉴[A].胡经之.中国古典文艺学丛编(二)[C].北京:北京大学出版社,2001.
[12][古希腊]亚里士多德.形而上学[M].吴寿彭译.北京:商务印书馆,1983.
[13][美]鲁道夫·阿恩海姆.视觉思维——审美直觉心理学[M].滕守尧译.成都:四川人民出版社,1998.
[14][梁]钟嵘.诗品序[A].郭绍虞.中国历代文论选(1)[C].上海:上海古籍出版社,2001.
[15][宋]严羽.沧浪诗话·诗辨[A].郭绍虞.中国历代文论选(2)[C].上海:上海古籍出版社,2001.
[16][美]苏珊·朗格.艺术问题[M].滕守尧,朱疆源译.北京:中国社会科学出版社,1983.
[17][德]胡塞尔.欧洲科学危机和先验现象学[M].张庆熊译.上海:上海译文出版社,1997.
[18][宋]欧阳修.六一诗话[A].郭绍虞.中国历代文论选(2)[C].上海:上海古籍出版社,2001.
[19]杨国荣.基于"事"的世界[J].哲学研究,2016(11).
[20][明]王世贞.弇州山人四部稿·艺苑卮言[A].胡经之.中国古典文艺学丛编(二)[C].北京:北京大学出版社,2001.
[21][元]杨载.诗法家数[A].胡经之.中国古典文艺学丛编(二)[C].北京:北京大学出版社,2001.
[22][元]陈绎曾.文说[A].胡经之.中国古典文艺学丛编(二)[C].北京:北京大学出版社,2001.
[23][清]王夫之.船山遗书·夕堂永日绪论内编[A].郭绍虞.中国历代文论选(3)[C].上海:上海古籍出版社,2001.
[24][德]本雅明.机械复制时代的艺术作品[A].本雅明.单向街[C].陶林译.南京:江苏凤凰文艺出版社,2015.
[25]倪梁康.胡塞尔现象学概念通释[M].北京:商务印书馆,2016.
[26][清]李渔.立主脑[A].郭绍虞.中国历代文论选(3)[C].上海:上海古籍出版社,2001.
[27]转引自马新国主编.西方文论史[C].北京:高等教育出版社,1994.
[28][日]遍照金刚.文镜秘府论·南卷·论文意[A].胡经之.中国古典文艺学丛编(二)[C].北京:北京大学出版社,2001.
[29]卢文超.艺术事件观下的物性与事性[J].文学评论,2019(4).