【作者】 李梅；

【导师】 莫其逊；

【作者基本信息】 广西师范大学 ， 文艺学， 2012， 硕士

【摘要】 《文心雕龙》是中国古代文论中最具系统性、学术性的一部著作,它的理论观点、美学思想历来被学者重视并加以研究。本文选取《文心雕龙》中一个文学理论范畴“物色”加以阐释,以刘勰的《文心雕龙·物色》篇为立足点,试图对刘勰的“物色”观进行全面深刻的阐释。论文除前言外,正文分为四个部分：引言：学术界对“物色”的研究现状。这一部分主要分两方面,一方面是从整个“物色”范畴着眼,分析总结近代以来学术界从不同视角对“物色”范畴的阐释,主要有：从词义及词性的角度把握、从“物”、“色”的源流探究“物色”词义的流变、从文艺审美层面对“物色”观进行的研究等；另一方面是对刘勰《物色》篇单篇研究成果作了分析总结。第一部分：“物色”范畴的生成。这一部分主要从历时性的角度介绍了“物色”这一概念的生成因素及刘勰之前学者有关“物色”的论述。“物色”范畴的生成因素包括哲学文化背景、社会现实因素、文学创作实践三个方面。接下来从三方面阐释刘勰的“物色”观,一是刘勰对“物色”范畴的一般意义界定；二是刘勰独到的美学创建,主要从“情以物兴”、“物以情观”、“感物吟志”等方面加以阐释；三是立足于刘勰的“物色”观,分析其形成的社会、文化背景等。先秦“物感”理论的提出、汉儒的经学阐释、魏晋南北朝的美学诠释为刘勰“物色”观的形成提供了理论资源。第二部分：刘勰“物色”观的理论构成与批评实践。其理论构成主要包括三个方面,一是以性情为本的文学本体论、二是结合刘勰的“感物吟志”论、“心物交融”说分析刘勰“物色”观的创作论,三是阐释刘勰“入兴贵形,析辞尚简”的自然文风。最后,从批评鉴赏的角度,分析刘勰“物色尽而情有余”的文学批评观。第三部分：探究刘勰“物色”观的审美特征。刘勰“物色”观,吸取了中国古典美学中“妙”、“道”、“自然”、“清”、“游”等思想范畴及文化意蕴,并结合中国古典文学艺术创作的理论实践,赋予“物色”以丰富内涵及审美价值。本部分将从以下三方面展开论述：(一)“体物为妙、功在密附”的妙合无垠美；(二)“不加雕削、曲写豪芥”的自然清丽美；(三)“情往似赠、兴来如答”的畅游愉悦美,予以阐释。第四部分：刘勰“物色”观的影响及意义。刘勰的“物色”观对后世的影响是深远的、多层次的。主要有这样三派：一是以钟嵘、皎然为代表的更完善的“物感”理论。二是以王夫之为代表的“情景交融”说；三是对王国维“境界”论的影响。刘勰在《物色》篇中论述的文学创作与自然景物的关系及文学创作的规律诸问题,对中国当代文论批评建设也具有现实意义和实践价值。更多还原

【Abstract】 As the most systematic and academic work among the Chinese ancient literary theories, The Literary Heart and the Carving of Dragons, has always been studied by scholars on its theories and aesthetic thoughts. Based on the chapter of "Wuse" in The Literary Heart and the Carving of Dragons, with the purpose to make an overall and profound illumination on Liu Xie’s "Wuse" perspective, this paper selects one of its literary theoretical categories "Wuse" to make an illumination. Besides the introduction, this paper’s body consists of four parts.In the introduction, the present research status on "wuse" is introduced. In this part, on one aspect, considering the category of "wuse", analysis and summary have been made on illuminations on the category of "wuse" in the academic circle since the modern times, mainly includes the understanding of the concept of "wu" and "se" from their meanings and part of speeches; exploring the changes of word meaning of "wu" and "se" from their sources; researches on the perspective of "wuse" from the aesthetic aspect, etc; on anther aspect, analysis and summary of the results of researches on the single chapter of "wuse" have been made.In the first part, the formation of the category of "wuse" has been stated. From the diachronic perspective, the forming factors of the concept of "wuse" and treatments on "wuse" made by scholars before Liu Xie have been introduced. The forming factors of the category of "wuse" include philosophical and cultural background, social and realistic factors and literary creation practice. Then from three aspects, the perspective of "wuse" has been illuminated, one aspect is the general definition of the category of "wuse" made by Liu Xie; another is Liu’s unique aesthetic establishments, those illuminations are mainly on "emotions aroused by objects","description of objects should evolve emotion","inspiration from things and expression of feelings"; and finally based on Liu’s perspective of "wuse", this part analyzes the social and cultural background of its formation. The very mention of "sentiment" theory in the Pre-Qin days and interpretation of Confucian classics by confucianists in Han Dynasty combine with aesthetic illuminations in Wei Jin Southern and Northern Dynasties, have provided theoretical sauces for the formation of Liu’s "wuse" perspecitive.The second part tells about the theoretical constitution and critical practice of Liu’s "wuse" perspective. The theoretical constitution mainly includes:the literary ontology which based on nature, the analysis of the creating theory of Liu’s "wuse" perspective which grounded on Liu’s "inspiration from things and expression of feelings" theory and "affection between human being and nature" and his natural writing style of "emotion comes when someone has leisure, and the wording should be concise". Finally, from the perspective of criticism and appreciation, this part analyzes Liu’s view of literary criticism of "emotions remain even after the ending of ’wuse’".The third part studies the aesthetic characteristics of Liu’s "wuse" perspective. His perspective absorbs the thought category and cultural implication of "miao","dao","ziran","qing" and "you" in the classical aesthetics; and also, combined with the theory and practice on Chinese classical literary creation; it has given deep connotations and aesthetic value to "wuse". This part will discuss these from the following three aspects:the clever beauty of "Body content is wonderful,work in secret with";the nature beauty of "Do not add carved cut, curve write carefullly"; the cruise cheerful beauty of "Love is to give, and to such as answer".The fourth part tells the influence and significance of Liu’s "wuse" perspective. This perspective has profound and multi-level impact on generation after generations. There are mainly three schools benefit from Liu’s perspective, one school has more improved "sentiment" theory, which is represented by Zhong Rong and Jiao Ran; the "feeling and setting happily blended" theory by Wang Fuzhi; and Wang Guowei’s "realm" theory. The relation between literary creation and natural scenery, the law of literary creation and many issues that were stated in the chapter of "Wuse" by Liu Xie has realistic and practical value on the construction of Chinese modern literary criticism.更多还原