摘要
"奇"的基本含义中既蕴含着正面的反常规意味,同时又有脱离现实不切实际的意思,魏晋士人极大地放大了前者的意味,使之成为审美式生活的标志。钟嵘身处魏晋六朝追求个性风采的时代氛围中,把"奇"的这种正面意义引入诗学领域,他将"奇"这一概念限定在审美的超越性与独异性上,使之不至于流入谈玄说怪的歧途中,保证了这一观念所应有的审美品味,对后世的理论产生了重要影响,从而使其成为一个重要的审美文化术语。
Thebasicmeaningof＂oddity＂notonlyhasthepositivemeaningofunusuality, but also has the meaning of being unrealistic. Scholars in Wei and Jin dynasties have extremely enlarged the meaning of the former, and make it become the symbol of the aesthetic life. Living in the atmosphere of chasing personalities at the time of six dynasties in the Wei-Jin Period, Zhongrong has lead the positive meaning of oddity into the field of poetics, and has restricted the conception of oddity to the transcendence and tmiqueness of beauty appreciation. What Zhongrong does has made the positive meaning of oddity and ensured its aesthetic taste, thus producing great significance to the future aesthetic theories.
出处
《河北工业大学学报（社会科学版）》
2013年第1期41-46,共6页
Journal of Hebei University of Technology：Social Sciences Edition
基金
河北教育厅(项目编号SD201064)
河北社会科学(项目编号HB11WX017)课题的阶段性成果
关键词
诗品
奇
独异性
反常规
Shipin
oddity
uniqueness
unusuality
