摘要
"傲岸泉石"出自《文心雕龙·序志》篇"赞曰",其词义涉及文学创作的主体与客体、人与物等一系列关系,可以说是全书文论思想的一个浓缩。以往学界对它的解释大致可以归为四种:纵情山水说、高傲隐居说、自然本然说、逍遥自得说,每种说法都有合理之处,亦有不足。结合具体语境考察,可知"傲岸泉石"强调的是审美主体的作用,指的是文学创作时一种逍遥自得的本然状态。它与强调审美客体作用的"江山之助"一起构成了刘勰文学理论的根基。
＂Ao An Quan Shi＂ comes from the Poetic Praise in the Prelude Its meaning relates to a series of relationships of the literary creation, such as the the people and object. It is even the concentration of the literary thoughts of th explanations for it call be roughly divided into four categories： indulging of Wen-hsin Tiao-Lung. subject and object, and e whole book. Previous in landscape, arrogant seclusion, nature and naturalness, and peripateticism and freedom. Each of them has merits and demerits. Combined with the specific context, ＂Ao An Quan Shi＂ focuses on the role of aesthetic subject. It refers to the free state in literary creation. ＂Ao An Quan Shi＂ and ＂Nature＇s Assistance to Literary Creation＂ emphasizing the role of the aesthetic object constitute the basis of Liu Xie＇s literature theories.
出处
《西南交通大学学报（社会科学版）》
2014年第3期43-47,66,共6页
Journal of Southwest Jiaotong University(Social Sciences)
关键词
刘勰
《文心雕龙》
傲岸泉石
江山之助
纵情山水说
高傲隐居说
自然本然说
逍遥自得说
Liu Xie
Wen-hsin Tiao-Lung
Ao An Quan Shi
Nature＇s Assistance to Literary Creation
indulging in landscape
arrogant seclusion
nature and naturalness
peripateticism and freedom
