| 赵忠富,王聪.如乐之和:《文心雕龙》的“以乐舞为喻”批评范式[J].唐山学院学报,2024,37(1):50-58 |
| 如乐之和:《文心雕龙》的“以乐舞为喻”批评范式 |
| The Harmony of Music and Dance: The Criticism Paradigm of “Music and Dance as Metaphors” in Wenxin Diaolong |
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| DOI：10.16160/j.cnki.tsxyxb.2024.01.008 |
| 中文关键词: 文心雕龙 象喻 批评范式 以乐舞为喻 |
| 英文关键词: Wenxin Diaolong metaphorical criticism paradigm music and dance as metaphors |
| 基金项目:教育部人文社会科学研究青年基金项目（21YJC751038） |
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| 摘要点击次数: 3392 |
| 全文下载次数: 1927 |
| 中文摘要: |
| 在中国古代文学批评史上，注重节奏、崇尚和谐是一脉相承、一以贯之的审美追求，它往往通过"以乐舞为喻"的象喻批评范式来呈现。华夏民族诗乐舞合一的艺术传统，是"以乐舞为喻"批评范式的学理依据。春秋以讫魏晋礼乐崩坏所带来的诗乐舞分殊，则为"以乐舞为喻"批评范式提供了必要的逻辑前提。《文心雕龙》作为古代文学理论象喻批评的典范之作，对于"以乐舞为喻"批评范式的运用达到了前所未有的水平。刘勰取譬乐舞以论文，打破了艺术门类之间固有的藩篱，实现了不同知识域的经验互通与话语共享，大大拓展了文学批评的言说空间。 |
| 英文摘要: |
| In the history of ancient Chinese literary criticism, a focus on rhythm and the pursuit of harmony have been consistent and integral aesthetic pursuits, which are often presented through the metaphorical criticism paradigm of "music and dance as metaphors". The artistic tradition of the integration of poetry, music, and dance in the Chinese culture provides the theoretical basis for this paradigm. The fragmentation of poetry, music, and dance brought about by the collapse of the rites and music during the Spring and Autumn Period and the end of the Wei-Jin dynasties provided the necessary logical premise for this paradigm. As a masterpiece of metaphorical criticism in ancient literary theory, Wenxin Diaolong has reached an unprecedented level in the application of the paradigm. Liu Xie's use of music and dance as metaphors to discuss literature breaks the inherent barriers between different art forms, facilitates the experiences exchange and discourse sharing across different fields of knowledge, and greatly expands the discursive space of literary criticism. |
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