本文選題：意境 + 可視性　； 參考：《重慶郵電大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版)》2017年02期

【摘要】：從紀(jì)昀和王國(guó)維對(duì)"意境"的使用來(lái)看,意境源于詩(shī)人的眼前實(shí)景。詩(shī)人用語(yǔ)言符號(hào)將眼前的"難狀之景"再現(xiàn)出來(lái),讀者由此想象出具有景深效果的視覺(jué)景觀。意境對(duì)應(yīng)的語(yǔ)言表達(dá)方式是描寫(xiě),景是其摹仿對(duì)象,"闊遠(yuǎn)"和"如畫(huà)"是其美學(xué)特征。詩(shī)人運(yùn)用的透視描寫(xiě)是文學(xué)意境生成的形式基礎(chǔ),相反,議論和敘述等語(yǔ)言表達(dá)方式達(dá)不到這種效果。意境可分為"視錯(cuò)覺(jué)"式、"門(mén)窗借景"式和"平面重疊"式三種類(lèi)型。意境和"不隔""詩(shī)要顯"等詩(shī)歌理論的核心均為"狀難寫(xiě)之景如在目前"。中原戰(zhàn)亂催生了中國(guó)山水詩(shī),南方"如畫(huà)"的山水景觀是意境生成的現(xiàn)實(shí)基礎(chǔ)。中國(guó)現(xiàn)代學(xué)者對(duì)藝術(shù)品形式的輕視和對(duì)"形似"的恐懼導(dǎo)致了意境的泛化,雖然這能使讀者遠(yuǎn)離偶像崇拜,但同時(shí)也使后者忽視了對(duì)文學(xué)作品的直觀體驗(yàn)�，F(xiàn)代讀者沒(méi)有必要在意義的問(wèn)題上糾纏不休,體驗(yàn)到在語(yǔ)言中棲居的樂(lè)趣就是審美活動(dòng)的理想境界。
[Abstract]:From Ji Yun and Wang Guowei on the "mood" of the use of point of view, artistic conception originates from the poet eyes. The poet with real language symbols in front of the "hard like King" reproduced, and the reader to imagine the visual landscape with depth of field effect. The conception of language expression is the description, scene is the imitation object, "wide far away" and "picturesque" is its aesthetic characteristics. The poet uses the perspective of description is the foundation of the formation of the artistic conception of literature on the contrary, argumentative and narrative language expression is not up to this effect. The artistic conception can be divided into "illusion", "window king" and "plane overlap" type three types the artistic conception of "undivided". And "the poem to show" poetry theory is "like King's difficult to write, such as in the present." the Central Plains war gave birth to the Chinese landscape poetry, southern "picturesque" landscape is a realistic basis for the formation of artistic conception. China modern scholars on the art form of "contempt and shape Like "fear leads to the conception of the generalization, although this can make readers away from idolatry, but also make the latter ignored the direct experience of the literary works. The modern reader is not necessary in the problem of meaning entanglement, to experience the dwelling in the language of the ideal realm of aesthetic activity is fun.

【作者單位】： 沈陽(yáng)師范大學(xué)文學(xué)院;
【基金】：沈陽(yáng)師范大學(xué)校內(nèi)項(xiàng)目:中國(guó)文學(xué)圖像化的歷史與理論(XNW2016008)
【分類(lèi)號(hào)】：I207.22
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本文編號(hào)：1759887