建構(gòu)當(dāng)代“知音論”文藝批評體系
發(fā)布時間：2018-05-08 20:02
本文選題：音論 + 文藝?yán)碚?/strong> ； 參考：《藝術(shù)評論》2017年06期
【摘要】：正文藝評論即審美。一切文藝評論皆為審美活動、審美過程的凝凍與固化,其中至為關(guān)鍵的,正是審美、賞評。既為審美,必有其標(biāo)準(zhǔn)與尺度,關(guān)乎美學(xué)與鑒賞;亦必有其路徑與方法,關(guān)乎文體與寫作。古代文藝批評如斯,當(dāng)代文藝評論亦然。一、中古"知音論":當(dāng)代文藝評論的歷史借鏡中古"知音論"是中國古典文藝?yán)碚撝凶钪匾睦碚摻渲�。作為中國古代文藝批評鑒賞論,知音論發(fā)軔于漢末,肇始于魏晉,興盛于
[Abstract]:The criticism of literature and art is aesthetic. All literary and artistic comments are aesthetic activities, the condensation and solidification of aesthetic process, in which the most critical is aesthetic appreciation. There must be standards and standards, aesthetics and appreciation, as well as ways and methods, style and writing. Ancient literary criticism is so, so is contemporary literary criticism. First, the theory of "confidant": the historical reference of contemporary literary criticism is one of the most important theories of classical Chinese literature and art. As an appreciation theory of literary criticism in ancient China, the theory of acquaintance originated in the end of the Han Dynasty, began in the Wei and Jin dynasties, and flourished in the late Han Dynasty.
【作者單位】： 中國藝術(shù)研究院;
【基金】：國家社會科學(xué)基金藝術(shù)學(xué)重大項目“中華美學(xué)與藝術(shù)精神的理論與實踐研究”(批準(zhǔn)號:16ZD02);國家社會科學(xué)基金重點項目“中國審美意識通史”(批準(zhǔn)號:11AZD052)的階段性成果
【分類號】：I206.7;J05
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本文編號：1862839
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