摘要
《文心雕龙》尚有隐而未发的文体组合原则。首先,原道—征圣—宗经的文学整体观面对一个理论裂隙,即单经之文或单篇之文不能展露道之全体。由此导出文的组合形态与文体分类的必然性,此为文体组合原则的理据所在。其次,文体区判的实现,表明文体组合原则是同一系统内,主导质素的核心化与边缘化及其交互。其不惟可对文体实现定体,亦可对文体之间并非泾渭分明的现象有所澄清。而文类与文体之间的关系,凸显了文的组合形态所具有的层次性与立体性。复次,这一组合原则可作为考察某一文体自身演变的内在视角,即从其系统整体着眼,考察其主导质素的升降变化。《文心雕龙》文之枢纽部分对宗经与《离骚》之间紧张感的消解亦可在此视角下加以理解。
There is a hidden and unspoken principle of stylistic combination in The Literary Mind and the Carving of Dragons.First of all,the literary holistic view of Yuan Dao-Zheng Sheng-Zong Jing is confronted with a theoretical rift,that is,a single text or a single text cannot reveal the whole of the Dao.This leads to the inevitability of the combined form of the text and the categorization of the style,which is the rationale for the principle of style combination.Secondly,the realization of stylistic distinction suggests that the principle of stylistic combination is the centrality and marginalization of dominant elements and their interaction within the same system.It will not only define the genre,but also clarify the phenomenon of non-differentiation between genres.The relationship between genre and genre highlights the hierarchical and three-dimensional nature of the combined form of the text.Repeatedly,this combinatorial principle can be used as an intrinsic perspective on the evolution of a text itself,i.e.,on the rise and fall of its dominant elements in terms of its system as a whole.The dissolution of the tension between the Zong Jing and Li Sao,which exists in the pivotal part of the text of The Literary Mind and the Carving of Dragons,can also be achieved in this perspective.
出处
《古代文学理论研究》
2022年第1期165-183,共19页
Studies of Ancient Chinese Literary Theory
关键词
《文心雕龙》
文体组合原则
核心
边缘
交互
The Literary Mind and the Carving of Dragons
stylistic combination principle
core
edge
interaction
