本文選題：言　切入點：意　出處：《山東師范大學》2003年碩士論文　論文類型：學位論文

【摘要】： 本文共分為三個部分。 第一部分：言與意的關系問題長期以來有言能盡意和言不盡意的困惑，但這是在不同意義指向下的矛盾。從語言學角度來說，言語活動可以區(qū)分為語言與言語，語言是需要人們共同遵守的語法準則和詞匯系統(tǒng)，言語則是個體表情達意的具體運用，二者對意義要求的不同就造成了言能盡意和言不盡意的區(qū)分。從中國哲學文化傳統(tǒng)而言，儒家是重言重意的，道家、禪宗則是重意輕言的，所以前者往往強調言能盡意而后者強調言不盡意。而從意的角度來說，意可以分為言內之意和言外之意，二者在詩學理論當中是融合的，內意要盡其理，外意要盡其象，其中意之構成的理志與情意的統(tǒng)一是存在于具體的意象結構當中。當然人們在具體的藝術創(chuàng)作當中總是力求要表達出言外之意來，正所謂意在言外。 第二部分：解決言不盡意這一矛盾的關鍵在于引入“象”這一概念。為此本文首先論述了“象”的語源含義，考察了其意義流變的過程：從最初的“大象”到卦象，再到想象、象征含義的出現(xiàn)�！吨芤住は缔o》中提出“立象以盡意”的表達方式，這就確立了以“象”為中介來表達人類的主觀情感，以及對人生萬物的體驗，對宇宙發(fā)生的認識等等情意。所以本文著重從老子和莊子的象道觀來論述象和道的關系，以探求象與意融合的歷史必然性。老子以“無狀之狀，無物之象”來稱謂道，其存在狀態(tài)是“惚兮恍兮，其中有象；恍兮惚兮，其中有物。”，而道的本體則體現(xiàn)為“大音希聲；大象無形”。莊子則以“象罔”來體道、悟道，提出“天籟”、“地籟”、“人籟”的象道觀。這為后世意與象的結合奠定了必要的語意基礎。 第三部分：“意象”作為合成詞的形式最早是出現(xiàn)在東漢王充的《論衡·亂龍篇》中，他提出了“禮貴意象”的說法。哲學意義上的意象關系是《周易·系辭》中提出的“立象以盡意”，其后經過莊子、王弼的生發(fā)更具有了哲學思辯的意義蘊涵。意象在審美領域中主要是由魏晉的摯虞、劉勰從哲學意義的基礎上轉化而來，尤其是劉勰第一次將“意象”作為藝術構思的產物而提出，認為藝術創(chuàng)作是要“窺意象而運斤”，這樣意象就歷史的生成了。審美意象在生成之后具有其獨特的美學特征，那就是要追求象外之意的表達和情與景的交相融合，并且一般采取賦、比、興的意象經營方式。從古代的意象式批評到現(xiàn)在意象理論體系的創(chuàng)構，這充分說明了意象所具有的活力和生機，在文化日益全球化的今天，我們重新發(fā)掘意象這一中國古代文論、美學的核心范疇，，我認為是有意義和價值的。
[Abstract]:This paper is divided into three parts. Part one: the relationship between speech and meaning has long been confused, but it is a contradiction under different meanings. From the linguistic point of view, speech activity can be divided into language and speech. Language is the grammatical principle and lexical system that people should abide by, and speech is the concrete application of individual expression. The difference of meaning requirements between the two causes the distinction between speech, ability and meaning. Confucianism stresses meaning, Taoism and Zen pay more attention to meaning than words. Therefore, the former often emphasizes that words can do their best while the latter emphasizes that words do not mean everything. From the point of view of meaning, meaning can be divided into inner meaning and implied meaning. In the theory of poetics, the two are merged. The inner meaning should be reasonable, and the external meaning should be as much as possible. The unity of meaning and emotion exists in the concrete image structure. Of course people always try to express the implicative meaning in the concrete artistic creation. The second part: the key to solve the contradiction is to introduce the concept of "elephant". Therefore, this paper first discusses the etymological meaning of "elephant" and examines the process of its meaning evolution: from the original "elephant" to the hexagram image, and then to the imagination. The appearance of symbolic meaning. In the Book of changes, the expression of "setting up an image with the best of intention" is put forward, which establishes the expression of human's subjective feelings and the experience of all things in life through "image" as an intermediary. So this paper discusses the relationship between image and Tao from the view of Taoism of Laozi and Zhuangzi, in order to explore the historical inevitability of the fusion of image and meaning. The state of its existence is "trance", in which there is an elephant; in a trance, in which there is something. "the Noumenon of the Tao is embodied in" the sound of the big voice and the sound of the elephant; the elephant is invisible. "Chuang Tzu uses" the elephant to come to the body and realize the way. " This paper puts forward the concept of "Teana of Nature", "Teana of Earth" and "Teana of Man", which lays a necessary semantic foundation for the combination of meaning and elephant in later generations. The third part: the form of "image" as a compound word was first appeared in the Eastern Han Dynasty Wang Chong's Analogies and chaos of the Dragon. He put forward the idea of "ritual and expensive image". The relationship of image in philosophy is the idea of setting up an image to the best of his mind in the Book of changes, and then he passes through Zhuangzi. Wang Bi's birth has the meaning of philosophical thinking. In the aesthetic field, the image is mainly from the Wei and Jin dynasties, Liu Xie from the philosophical significance of the transformation from the basis, In particular, Liu Xie put forward "image" as the product of artistic conception for the first time, and thought that artistic creation is to "peep at the image and carry the weight", so that the image of history is generated. The aesthetic image has its unique aesthetic characteristics after it was created. That is to pursue the expression of the meaning outside the image and the intersection of emotion and scenery, and generally adopt the image management mode of Fu, comparison and prosperity, from the ancient image criticism to the creation of the present image theory system. This fully illustrates the vitality and vitality of image. Today, with the globalization of culture, we rediscover image, the core category of Chinese ancient literary theory and aesthetics, which I think is meaningful and valuable.
【學位授予單位】：山東師范大學
【學位級別】：碩士
【學位授予年份】：2003
【分類號】：I01

【引證文獻】

相關期刊論文 前2條

1 鄧心強;;近30年中國文論核心元范疇“象”研究述評[J];武陵學刊;2012年05期

2 朱遜;邵龍;;言不盡意的當代環(huán)境藝術美感生成[J];華中建筑;2010年06期

相關博士學位論文 前3條

1 何艷珊;老子音樂美學思想與相關藝術審美[D];中央音樂學院;2011年

2 謝建軍;書法美學意象研究[D];華中師范大學;2009年

3 羅建新;楚辭意象之構成考論[D];上海大學;2010年

相關碩士學位論文 前4條

1 王新嶺;中國古典美學“象”范疇研究[D];山東師范大學;2011年

2 申長崴;莫言小說中“肉”意象的文化解讀[D];東北師范大學;2009年

3 鄢敏;中國書法在現(xiàn)代設計中的運用[D];武漢紡織大學;2013年

4 鄭淋升;古代文論與書論的相互影響研究[D];重慶師范大學;2013年

本文編號：1620432