本文選題：象 + 觀物取象　； 參考：《陜西師范大學(xué)》2016年博士論文

【摘要】：論文以“象”概念為中國文論元范疇,“易象”和漢字是中國“尚象”文化特有的生命符號(hào),在“天人合一”文化語境下,它內(nèi)蘊(yùn)了物之理與人之性,是物質(zhì)世界與精神世界相互交融的重要領(lǐng)域。“象”具有強(qiáng)大的生命力和創(chuàng)造性,不同時(shí)期的文學(xué)實(shí)踐,生成了諸多與“象”相關(guān)的概念、范疇、原理和命題,它們具有原生性和本土性,是“象”對(duì)不同時(shí)代藝術(shù)問題的回應(yīng),也是構(gòu)建和體現(xiàn)中國文學(xué)品格的重要內(nèi)容。“易象”奠定了中國“尚象”文化傳統(tǒng),是中國象思維成熟的標(biāo)志�！吨芤住贰坝^物取象”的創(chuàng)造原則,形成了“以象示象”“立象盡意”的表達(dá)方式,啟發(fā)了人們對(duì)“象外之象”“象外之意”的生命探索。漢字以“象”為本,它面向生命、凝固生命、啟發(fā)生命、表現(xiàn)生命,它以強(qiáng)烈的感性特征創(chuàng)造了中國文學(xué)的各種形式。漢字的普遍性、廣泛性和連續(xù)性使用,落實(shí)和強(qiáng)化了中國“尚象”文化精神。“易象”和漢字對(duì)中國文論的知識(shí)構(gòu)型與創(chuàng)造產(chǎn)生了重要影響。“藝象”如“易象”是中國文學(xué)理論根深蒂固的觀念�！耙紫蟆蓖苿�(dòng)了“藝象”的形象創(chuàng)造,“藝象”體現(xiàn)了“易象”的文化原理。漢字是漢文化的載體,是漢文學(xué)創(chuàng)造的工具,也是“藝象”的生成與落實(shí),不同時(shí)期的“藝象”實(shí)踐創(chuàng)造了以“象”為詞根的諸多概念、范疇,它們既是這一時(shí)期藝術(shù)實(shí)踐的理論總結(jié),也是“象”范疇的歷史延展與時(shí)代創(chuàng)造。這些概念具有前后的連續(xù)性和差異性,是中國文學(xué)生命品格的體現(xiàn)。緒論以中國文論發(fā)展,特別是20世紀(jì)以來中國文論發(fā)展中“失語”現(xiàn)象及傳統(tǒng)文論的現(xiàn)代價(jià)值為平臺(tái),審視和反思“象”范疇的研究得失,提出“象”與中國文論知識(shí)創(chuàng)造的研究問題。第一章提出“象”不僅是中國文論發(fā)生的基元,也是中國文論構(gòu)成的主要線索。以文字詮釋,文獻(xiàn)旁證,意義闡發(fā)的方式探索“象”的生命意蘊(yùn)�！耙紫蟆�、漢字和漢語文學(xué)是“象”文化原理的具體落實(shí),它們?cè)趯?shí)踐中顯示了強(qiáng)大的生命力和創(chuàng)造力。對(duì)“象”及子范疇的研究具有示范性,是創(chuàng)新中國文論知識(shí)生產(chǎn)、構(gòu)建民族文論體系的重要方法。第二章以“象”的知識(shí)構(gòu)型為中心,結(jié)合“易象”和漢字文化原理,圍繞“意象”“興象”和“意境”三個(gè)具有標(biāo)志性的子范疇進(jìn)行研究,發(fā)現(xiàn)“象”范疇在中國文學(xué)實(shí)踐中所具有的摹仿創(chuàng)造、審美表現(xiàn)和人生體驗(yàn)作用。第三章以“象”的知識(shí)創(chuàng)造為中心,提出“觀物取象”、“感”物生象和“味”物化象是“象”范疇知識(shí)創(chuàng)造的基本路徑。它以觀、感、味為核心,構(gòu)建了仰俯體察、感而遂通、體用一元的知識(shí)創(chuàng)造方式,形成了“以象示象”“立象盡意”的表達(dá)模式,生成了“象外之象”“象外之境”的審美空間,體現(xiàn)了中國文論知識(shí)創(chuàng)造的主體性、理論構(gòu)建的辯證性和概念創(chuàng)造的互文性特征。第四章以中國象思維為中心,提出中國象思維是原始思維的歷史延展�！耙紫蟆笔侵袊笏季S成熟的標(biāo)志,漢字是中國象思維的落實(shí)與發(fā)展。以“易象”和漢字為基礎(chǔ),中國象思維顯示出符號(hào)性、象征性和創(chuàng)造性的思維特征。中國象思維與民族文化的知識(shí)創(chuàng)造與形態(tài)構(gòu)型具有密切關(guān)系,它與形象思維、概念思維有聯(lián)系也有區(qū)別。結(jié)語以“象”與中國文論知識(shí)生產(chǎn)創(chuàng)新為中心,認(rèn)為近代以來中國文化的裂變構(gòu)成了“象”范疇發(fā)生的新語境,而20世紀(jì)中國文論的知識(shí)生產(chǎn)經(jīng)驗(yàn)為當(dāng)代文論創(chuàng)新提供了新啟示。另外,中國“原道”的知識(shí)生產(chǎn)場也在當(dāng)代有了新延續(xù),“象”作為中國歷史文化的生命符號(hào),是傳統(tǒng)思想的重要載體,它在當(dāng)代依然具有強(qiáng)大的生命力和創(chuàng)造性,是中國未來文論建設(shè)的重要內(nèi)容。
[Abstract]:The paper takes the concept of "image" as the category of Chinese literary theory, and "image" and Chinese character are the unique life symbols of Chinese "image" culture. Under the cultural context of "harmony between heaven and man", it contains the theory of matter and human nature, which is an important field of mutual integration between the material world and the spiritual world. The literary practice of the same period has produced many concepts, categories, principles and propositions related to "image". They are original and native. It is the response of "elephant" to the artistic problems of different times. It is also an important content of constructing and embodying Chinese literary character. "Image" has laid the Chinese "image" cultural tradition and the Chinese image thinking. The creation principle of maturity is the creation principle of "looking for objects", which has formed the expression way of "image image" and "image of image". It enlightens people to explore the life of "elephant outside image". Chinese character is based on "elephant", it faces life, solidify life, inspires life and expresses life, it is created with strong perceptual characteristics. A variety of forms of Chinese literature have been made. The universality, extensive and continuous use of Chinese characters implemented and strengthened the cultural spirit of "the elephant" in China. "Yi Xiang" and Chinese characters have an important influence on the knowledge formation and creation of Chinese literary theory. "Yi Xiang", such as "image", is a deep-rooted concept in Chinese literary theory. The image of "art image" has been created, and "art image" embodies the cultural principle of "image". The Chinese character is the carrier of Chinese culture, the tool of the creation of Chinese literature, and the creation and implementation of the "art image". The practice of "art image" in different periods has created many concepts with "elephant" as the root of the word, and they are the artistic practice of this period. The summary of the theory is also the historical extension and time creation of the category of "elephant". These concepts have continuity and difference, which are the embodiment of the life character of Chinese literature. The introduction is developed by the Chinese literary theory, especially the "Aphasia" in the development of Chinese literary theory since twentieth Century and the modern value of the traditional literary theory as a platform, examining and reflecting on the modern value of the traditional literary theory. The first chapter puts forward that "elephant" is not only the basic element of the Chinese literary theory, but also the main clue of the Chinese literary theory. The "elephant" is the main clue of the Chinese literary theory. Literature is the concrete implementation of the "elephant" cultural principle. They show strong vitality and creativity in practice. The study of "elephant" and subcategory is exemplary. It is an important method to innovate the knowledge production of Chinese literary theory and construct the system of national literary theory. The second chapters focus on the knowledge configuration of "elephant", and combine the "image" and the Han Dynasty. The principle of character culture is to study the three symbolic subcategories of "image" and "artistic conception", and find the imitation creation, aesthetic expression and life experience of the category of "elephant" in Chinese literary practice. The third chapter centers on the knowledge creation of "elephant", and puts forward the "sense of image" and "feeling". The image and "taste" materialized image is the basic path of knowledge creation in the category of "elephant". It constructs the expression pattern of "looking up and down" with one yuan of knowledge creation way, forming the expression pattern of "image with image", creating the aesthetic space of "elephant outside image", and embodies the aesthetic space of "elephant outside". In the fourth chapter, the Chinese image thinking is the historical extension of the original thinking. The "image" is the symbol of the mature thinking of Chinese image, the Chinese character is the implementation and development of Chinese image thinking. On the basis of this, Chinese image thinking shows symbolic, symbolic and creative thinking characteristics. The knowledge creation and configuration of Chinese image thinking and national culture are closely related. It is related to the image thinking and conceptual thinking. The conclusion takes "elephant" and the Chinese literary theory of knowledge production innovation as the center, and thinks that China has been in modern times. The fission of culture constitutes a new context in the category of "elephant", and the knowledge production experience of Chinese literary theory in twentieth Century provides new inspiration for the innovation of contemporary literary theory. In addition, the knowledge production field of China's "original road" has also been renewed in the contemporary era. "Elephant", as the life symbol of Chinese historical culture, is an important carrier of traditional thought. Contemporary still has strong vitality and creativity, which is an important part of China's future literary theory.

【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：I206.2
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本文編號(hào)：1849596