摘要
汉语古典诗学声韵形式研究中存在着三层结构,即形式层、功能层、超越层。在形式层上,汉语古典诗学强调声韵形式之"美";在功能层上,强调声韵形式之"能",也即强调声韵形式本身具有情感表现功能,这集中表现于"声情"范畴论的相关研究之中;在超越层上,强调声韵形式之"神",也即强调对声韵形式和功能有限性的超越,这集中表现于"神韵"范畴论的相关研究中。"韵"之三层结构论最终揭示,充分创造汉语声韵形式之"美"、开掘汉语声韵形式之"能"、彰显汉语声韵形式之"神",乃是汉语古典诗学重要的审美文化理想,而大量声情茂美、神韵灵动的汉语古典诗歌作品,足以从创作实践上充分地历史地证明此点。
Studies of the rhyming forms of Chinese classical poetics present a triple structure, that is, the formal level, functional level and innovative level. At the formal level, Chinese classical poetics projects the ＂beauty＂ in form; at the functional level, the ＂capacity＂ of forms of rhyming, namely, the function of representing emotion of forms of rhyming themselves; at the innovative level, the ＂artistry＂ of forms of rhyming, in other words, the breaking of restriction of forms and function of rhyming. Eventually, the triple structure shows that the leading ideal of aesthetic culture set by Chinese classical poetics is to vigorously create the ＂beauty＂, exploit the ＂capacity＂, and present the ＂artistry＂ of forms of Chinese rhyming. This aesthetic ideal has been completely and historically manifested in the practice of writing of large quantities of enchanting and artistically-rhymed Chinese classical poems.
出处
《陕西师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2010年第3期33-41,共9页
Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)
基金
中国社会科学院重大研究项目(B类)
关键词
古典诗学
声情
神韵
形式层
功能层
超越层
classical poetics
voice and expression
artistic rhyming
formal level
functional level
innovative level
