【摘要】： “空白”在中國(guó)古典藝術(shù)中是一個(gè)重要的范疇,各種藝術(shù)都很注重“空白”的妙用。藝術(shù)空白使藝術(shù)畫(huà)面具有豐富的啟發(fā)性、暗示性,從而為欣賞者的想象和再創(chuàng)造留下了廣闊的空間。 在古今中外文藝?yán)碚撝?有很多關(guān)于“空白”的論述,“不著一字,盡得風(fēng)流”;“著形于絕跡,振響于無(wú)聲”;“詩(shī)臺(tái)神龍,見(jiàn)其首不見(jiàn)其尾,或云中露一爪一鱗而已,……而龍之首尾完好固然宛在也”;“寫(xiě)作藝術(shù)之所以好,并不在于知道要寫(xiě)什么,而是在于知道不需要寫(xiě)什么”……從這些關(guān)于“空白”的說(shuō)法中,我們可以體悟出:藝術(shù)作品要典型地反映出客觀事物的某些本質(zhì)方面的東西,不能只是對(duì)客觀生活現(xiàn)象照相式的展覽和羅列,必須有所篩選,要有適當(dāng)?shù)氖÷?只有如此,才能避免拘泥于生活真實(shí),才能擺脫膚淺與平庸,從而使作品獲得豐富而深刻的內(nèi)涵,實(shí)現(xiàn)向藝術(shù)真實(shí)的高峰飛躍。在我國(guó),空白論的理論淵源可追溯到《易》:“是故形而上者謂之道,形而下者謂之器,……”在西方,伊瑟爾最先在文學(xué)的接受理論中提出了“空白”一詞,他認(rèn)為文本和讀者之間沒(méi)有建立意圖的調(diào)節(jié)語(yǔ)境,這種語(yǔ)境只有靠讀者從文本的暗示或標(biāo)示中建立。 而文學(xué)中的藝術(shù)空白是藝術(shù)空白的一個(gè)重要組成,對(duì)文學(xué)魅力的生成以及文學(xué)活動(dòng)中主客體之間的交流都有很重要的影響。本文首先從理論上論述藝術(shù)空白的概念、分類(lèi)及表征,使讀者對(duì)藝術(shù)空白的理解有了基本的認(rèn)識(shí);接著具體論述文學(xué)中的藝術(shù)空白的特點(diǎn);第三部分揭示文學(xué)中的藝術(shù)空白的藝術(shù)效果和對(duì)讀者的召喚價(jià)值。 藝術(shù)空白在文學(xué)中無(wú)所不在。正因?yàn)槲膶W(xué)有了空白才更加美,更能給人以獨(dú)特的、回味無(wú)窮的審美享受,進(jìn)而體現(xiàn)文學(xué)所獨(dú)有的審美價(jià)值和社會(huì)價(jià)值。
[Abstract]:Blank is an important category in Chinese classical art. The artistic blank makes the artistic picture rich in inspiration and hint, thus leaving a wide space for the appreciator's imagination and re-creation. In ancient and modern literature and art theory, there are a lot of "blank" exposition, "without a word, all the flow"; "form in the extinction, vibration in the silent"; "the poem stage god dragon, see its head and tail, or in the clouds show a claw scale." And the dragon's head and tail are in good condition, "the art of writing is good not by knowing what to write, but by knowing what needs not to be written." From these "blank" statements, we can understand that works of art to typically reflect some of the essential aspects of the objective things, not just the objective life phenomenon photographic exhibition and listing, there must be some screening. Only in this way can we avoid sticking to the reality of life, get rid of the superficial and mediocre, make the works rich and profound connotation, and realize the peak leap to the artistic reality. In our country, the theoretical origin of blank theory can be traced back to Yi: "it is the way of the metaphysics, the instrument of the lower." In the West, Iser first put forward the word "blank" in the literary acceptance theory. He thinks that there is no regulatory context between the text and the reader, which can only be established by the reader from the hint or indication of the text. The artistic blank in literature is an important component of the artistic blank, which has a very important influence on the generation of literary charm and the communication between the subject and object in the literary activities. In this paper, the concept, classification and representation of artistic blanks are discussed theoretically, which makes readers have a basic understanding of artistic blanks, and then discusses the characteristics of artistic blanks in literature. The third part reveals the artistic effect of artistic blanks in literature and its calling value to readers. Artistic blanks are ubiquitous in literature. It is because literature has a blank that it is more beautiful and can give people a unique, aftertaste of aesthetic enjoyment, and then reflect the unique aesthetic value and social value of literature.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類(lèi)號(hào)】：I0441

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

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相關(guān)碩士學(xué)位論文 前4條

1 東雪;論沃爾夫?qū)ひ辽獱柕奈谋居^[D];湘潭大學(xué);2011年

2 明娟;文學(xué)閱讀教學(xué)中學(xué)生想象力的培養(yǎng)[D];華中師范大學(xué);2007年

3 于娟;論文學(xué)接受中的詩(shī)性對(duì)話(huà)[D];牡丹江師范學(xué)院;2010年

4 楊超;微型小說(shuō)的空白藝術(shù)[D];齊齊哈爾大學(xué);2012年

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本文編號(hào)：2254602