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意境是一座迷宫!她究竟是什么样,谁也说不清。当你执意要去探索她的奥秘时,她略施小计,同时给你几条小道,便让你亡羊歧路,陷于迷惘之中。但人类在困难面前,是从不屈服的。这次讨论,为我国意境论的现代研究,奠定了基础。朱光潜在《文艺心理学》和《诗论》中把『境界』用于现代文艺学;李泽厚把意境与典型作比较并把它纳入典型系统,都是新的探索;这次讨论在一九六二年达到高潮,光这一年就出现二十多篇研究文章。只可惜这样良好的研究势态被『文革』中断。一九八二年似乎是这次热潮的最高峰,一年之中出现的专论竟有六十余篇;这次热潮无论就参加的人数,论文的质量,涉及的问题,还是就开辟的新视角新领域看,都是我国意境论历史上所仅见。说明意境已引起了我国理论界的重视,并且不管三七二十一,
The mood is a maze! What exactly is she, who can not tell. When you are determined to explore her mystery, she makes a subtle trick and gives you a few paths at the same time, leaving you in a state of perplexity. But mankind never gives in before difficulties. This discussion laid the foundation for the modern study of the artistic conception of China. Zhu Guangqian used “realm” in modern literary theory in “Literary Psychology” and “Poetics”; Li Zehou compared the artistic conception with the typical and incorporated it in the typical system, all of which were new explorations; in this discussion, Culminating in six or two years, just over twenty research articles appeared this year. Unfortunately, such a good research situation was interrupted by the “Cultural Revolution.” It seems that this peak was the peak of this boom in 1982 with more than 60 monographs appearing a year. This upsurge has been opened up regardless of the number of participants, the quality of the essay, and the issues involved New fields of view from a new perspective, are the only I see in the history of artistic conception. Illustrating the mood has drawn the attention of theorists in our country, and regardless of thirty-seven twenty-one,