摘要
20世纪中国美学对"意象"范畴的研究经历了理论自由、理论潜行和理论自觉三个时期。80年代之前,"意象"是作为西方舶来品被认知的,"意象"研究的理论自觉期肇始于80年代初,在世纪末的后二十年中呈现出两种趋势:本体性建构和中西对话。就前者而言,"意象本体论"成为研究者的理论旨归,这一过程中本体建构与意象泛化同时发生,以获得现实话语权为目标。就后者而言,西方思维方式、研究方法、美学潮流都在意象研究中发挥作用,意象在比较美学视野下艰难突围,但"意象"之"象"却被抽离,从而前景黯淡。相较之下,第一种趋势使意象成为古代文论现代转化过程中最为成功的案例。
In the 20th century＇ s China, the theoretical study on ＂imagery＂ as an aesthetic category has gone through different phrases. Before 1980s, ＂imagery＂ was understood as a term imported from Western aesthetics, and in the early !980s the study of imagery started to enter a phase of theoretical self - awareness. In the last two decade of the centu.ry, two trends emerged as the ontological construction and Sino - Western dialogue in the study of imagery. The former aims at the ontological study of images, during which the ontological construction and the generalization of images occurred simultaneously so as to gain the discourse pow- er in research field. The latter adopts a Western way of thinking and research methodology contextualized by Western aesthetic thoughts, and the research was carried out more from the perspective comparative aesthetics. This trend was leading to a narrower prospect since the visual aspect of imagery is often dissociated. As a result, the first trend proves to be one of the most successful and fruitful approaches to promote the transformation of ancient Chinese literary theory in terms of the study of imagery.
出处
《文艺理论研究》
CSSCI
北大核心
2014年第1期204-214,共11页
Theoretical Studies in Literature and Art
关键词
意象
发展谱系
理论构建
imagery
developmental genealogy
theoretical construction
