【作者】 邓伟龙；

【导师】 方克强；

【作者基本信息】 华东师范大学 ， 文艺学， 2009， 博士

【摘要】 本文认为，对中国古代诗歌艺术的研究或认识至少有两种路向：一是解析具体的古代诗歌文本，并进而理论归纳；一是从对中国古代诗学(诗歌理论)的研究中进而达到对中国古代诗歌艺术的认识。而本文则尝试从空间的维度，择取中国古代诗学中具有统摄性的赋比兴、言象意和意境等范畴来探讨中国古代诗歌艺术中有关空间或空间性的问题，并试着对其加以理论和系统化，以期进而揭示中国古代诗歌艺术的空间或空间性特质。本文除导论、结论、余论和结束语之外，正文分三编共八章。上编分三章，着重从空间思维的角度重新阐释古代诗学传统中的赋、比、兴范畴。本编认为，人类思维的两种最基本的方式是时间思维和空间思维，而赋比兴则都是空间思维的方式，但因受时间思维影响的不同，因而同是空间思维的赋比兴则又有区别，这就是古人为何重“兴”而轻“比”、“赋”的原因。除引言外，第一章着重阐释作为铺陈、扩展的空间思维——“赋”，并在本章中解释与本编相关的时间思维和空间思维问题；第二章着重论证作为二象并置、隐喻的空间思维——“比”；第三章则探讨作为瞬间、直觉的空间思维——“兴”。中编亦分三章，着重从空间的建构途径角度来探讨传统的言、象、意范畴。除引言外，第四章论述作为“依存时间的空间性媒介”的“言”，以及和言相关的空间语法和“字思维”等问题；第五章论证“跨度言意之间的空间性组合”的“象”，并阐释与象紧密联系的中国古代诗学中的“物象、形象、景象、意象、兴象、境象、象外之象”等概念，以及意象组合和意象思维问题；第六章则论述“依象而存的空间性混沌”的意，同时阐述与之联系的“道”、“气”等范畴或概念，并引入现代文学创作中的混沌学、非构思写作等加以论证。进而得出“言、象、意”是空间构建的途径之结论。下编共两章。除引言外，第七章从意境之“境”及其空间生特征，构成意境的三个最主要因素(即意象、虚实和氛围)及其空间性特征，和意境的三个主要结构层次(即情景交融、象外言外和进乎道层)及其空间性特征来探讨意境的空间性本质。并进而得出所谓“意境”，其实就是一种空间、空间感或审美空间的结论。第八章则从空间或审美空间的角度检讨当代有关意境的现代化、泛化问题，并主要评析了现代关于意境的六种界说，以期突出意境的空间性特性。综此，本文认为，在中国古代诗学思想视界中，诗歌艺术乃是一种空间性的艺术，每多空间或空间性视角之阐发，故空间可谓解读中国古代诗学的一有力维度。进而言之，空间或空间性可能就是中国古代诗歌艺术的特质。余论则着重就正文没有论及但很重要的对仗、节奏、格律等问题进行简单探讨，认为包括对仗在内的中国古代诗歌艺术技巧其实是一种空间建构的艺术技巧或手法。另外，在结束语中对本文存在的问题或不足亦进行了简单检讨。更多还原

【Abstract】 This paper deems that there are at least two ways forward on researching orrecognizing the ancient Chinese poetic art:one is to explain the specific ancientpoetry texts and further theoretically induce them;the other is to study the ancientChinese poetics (the poetic theory) and further understand the ancient Chinese poeticart.However,on the basis of the dimension of space,this paper makes an attempt toselect the Fu Bi Xing,Language-Image-Sense,artistic conception and other categoriesfully covered by the ancient Chinese poetics in order to discuss the space or spatialityin the ancient Chinese poetries,and to try to theorize and systematize them so as tofurther disclose the space or spatiality characteristics of the ancient Chinese poeticarts.This paper consists altogether of three parts including eight chapters in totalbesides the Introduction,Conclusion,Ending and Closing words.The first part includes three chapters,and focuses on reinterpreting the Fu,Bi,Xing categories in the ancient Chinese poetics tradition viewing from the spacethinking perspective.This part deems that two fundamental ways of human thinkingare the time and space thinkings while the Fu,Bi and Xing are the way of spacethinking.But they are different because they are differently affected by the timethinking.This is reason why the ancient people emphasized on“Xing”and lookeddown on“Bi”and“Fu”.Besides the Introduction,the Chapter One emphasizes oninterpreting“Fu”--as the space thinking of expatiation and expansion and explainsthe time and space thinkings problem related to the first part;the Chapter Two focuseson demonstrating“Bi”--as the space thinking of apposition and metaphor;and theChapter Three discusses“Xing”--as the space thinking of instantaneous andintuition.The second part also includes three chapters and focuses on discussing thetraditional language,image and sense categories viewing from the construction approaches of space.Besides the Introduction,the Chapter Four elaborates on“Language”as“the spatial medium depending on time”,and the space grammarrelated to Language and“Word Thinking”and other problems;the Chapter Fivedemonstrates“Image”as the“spatial combination between the Language and Sense”,and interprets the“object image,shape image,scene image,sense image,Xing image,literary image,images beyond image”and other concepts of ancient Chinese poetics,which are closely related to Image,and the hnage-Sense combination andImage-Sense thinking problems;and the Chapter Six describes“Sense”which isserved as the“spatial chaos existed depending on hnage”,and interprets the“Dao”,“Qi”and other categories or concepts related to“Sense”,as well as introduces thechaos theory,non-ideation composing and etc from the creation of modern Chineseliterature and further gets the conclusion which the“Language,hnage and Sense”arethe approaches of space construction.The third part includes two chapters.Besides the Introduction,the Chapter Sevendiscusses the spatial essence of artistic conception,on the basis of the“Conception”of artistic conception and its spatial characteristics,three primary factors (i.e.,image-sense,falseness-reality and atmosphere) which constitutes the artisticconception and their spatial characteristics,and three main structural hierarchies (i.e.,scene blending,beyond image and language,and beyond Dao)of the artisticconception and their spatial characteristics,and further gets the conclusion which thecalled“artistic conception”is in fact a kind of space,spatial sense or aesthetic space.The Chapter Eight introspects the modernization and generalization problems ofcontemporary related artistic conception viewing from the space or aesthetic spaceperspective,and mainly assesses two six-definitions related to the modern artisticconception and thus stands out the spatial characteristics of the artistic conception.In a word,this paper believes that in view of the ancient Chinese poetic thoughtsthe poetic art is a kind of spatial art and described viewing from the space or spatialprospective.So,the space is a strong dimension to interpret the ancient Chinesepoetics.What’s more,the space or spatiality may be the special characteristics of theancient Chinese poetic art. The Ending simply discusses the very important correspondence,rhythm,metrics and other problems which are not presented in the text,and deems that theartistic skill o the ancient Chinese poetics including the correspondence is a kind ofartistic skill or means of space construction.In addition,the problems or shortagesexisted in this paper are discussed in the Closing words.更多还原