摘要
钟嵘提出“滋味”说,上承前人乐味论,下启司空图辨味论,对我国古代诗学批评中以味论诗的辨味批评的出现作角重大。钟嵘不仅对“滋味”进行了详尽的阐述,而且把其作为自己诗歌批评的标尺,在批评实践中予以贯彻。“滋味”是钟嵘文学批评理论的核心范畴,在现代批评的语境下,仍有其存在的价值和意义。
Zhong Rong put forward the theory of taste which carried forward the theories about taste of music and developed the theories about taste of discerning music from Sikong Tu. The theory played an important role to the appearance of the taste of discerning to discuss poems with taste theory among the poetic criticism in the an- cient ages in China. Zhong Rong not only set forth the significance exhaustively, but also regarded it as the staff of his own poetic criticism. He implemented it in his critical practice. Taste was the key category of Zhong Rong＇ s literature criticism theory,it still has values and significances to exist under the contemporary critical context.
出处
《南阳师范学院学报》
CAS
2006年第2期58-64,共7页
Journal of Nanyang Normal University
关键词
滋味
辨味批评
艺术效果
批评实践
现代语境
taste
taste criticism
art result
critical practice
contemporary context
