摘要
中西古典诗学语境中的"感兴"与"灵感"分别用以描述艺术创作思维中"触物以起情"的运思机制与"神赐天启"的感发原理。作为中国早期新诗思想中颇具代表性的"外来词","灵感"的译介开启了中国传统感兴论与西方灵感论的讨论。通过对两个诗学命题语义源流、审美感应机制、艺术构思方式、创作主体因素的对比考察,为"感兴"与"灵感"在中西诗学体系的多维度对话提供了契机,可以对两个概念的历史语境、思维方式、话语范式、义界旨归有更清晰的认识。"感兴"与"灵感"的相遇,也为诗文灵思之产生的研究开辟了一个可以容纳不同诗学传统的新空间,有效推动了具有多重语义与价值的中西文论关键词的跨文化阐释与交流。
In Chinese and Western classical poetics,ganxing(感兴)and inspiration are used,respectively,to describe the mechanism of"touching things to arouse emotions"and the principle of"heavenly inspiration granted by gods"in artistic creation.As a representative loanword in early Chinese new poetry,the translation of"inspiration"has opened up the discussion of the traditional theories of ganxingand linggan(灵感).Through a comparative examination of the semantic origins,aesthetic induction mechanisms,artistic conceptualization and creative subject factors of the two poetic propositions,this paper provides an opportunity for a multi-dimensional dialogue between ganxingand inspiration in the Chinese and Western poetic systems,and allows for an investigation of the historical contexts,ways of thinking and discourses paradigms of the two concepts.The encounter between ganxing and inspiration also opens up a new space for the study of the production of poetic spirituality that can accommodate different poetic traditions,and effectively promotes the cross-cultural interpretation and exchange of Chinese and Western literary keywords with multiple semantics and values.
作者
张晶
刘璇
Zhang Jing;Liu Xuan
出处
《中国文学批评》
CSSCI
北大核心
2021年第2期40-50,158,共12页
Chinese Journal of Literary Criticism
