摘要
“意象”在文学领域的使用最早源自中国古典诗歌理论,它由主观的“意”和客观的“象”两个方面有机融汇而成。意和象的结合研究最早可见于中国著名的哲学著作《周易》,六十四“卦象”结构的基本生成方式,深刻揭示了中国古人通过“象”的排列组合以表达深层“情感意蕴”的原始思维特点。同理,意象与意象之间的有机组合构成意象结构。诗人在创作诗歌的过程中,依据主观情感,按照一定的构思想象和审美形式规律,生成不同的意象结构,使其成为意境优美、感情深沉、意蕴深邃、生动形象的美妙画面。本文通过对中西诗歌中意象结构的考察和对比分析,从跨文化的视角,将诗歌意象结构的建构方式概括为五种:承续延展、跳转拼接、同质叠加、对照互衬、辐射连锁。
The use of“image”in literature originated in classical Chinese poetry,where it is understood as the organic fusion of the subjective yi(意,meaning/intention)and the objective xiang(象,image/form).The earliest exploration of the integration between yi and xiang can be traced back to the renowned Chinese philosophical text The Book of Changes(Zhouyi),whose structure of sixty-four hexagrams(gua xiang)reveals the ancient Chinese mode of thought—using combinations of images to express profound emotional and conceptual meanings.Similarly,the organic combination of individual images constitutes an imagery structure.In the poetic creation process,poets,guided by their subjective emotions and governed by rules of composition and aesthetic form,construct various imagery structures.These structures,in turn,create poetic scenes that are emotionally rich,aesthetically profound,and vividly expressive.Through an examination and comparative analysis of the imagery structures in Chinese and Western poetry from a cross-cultural perspective,this paper summarizes the generation methods of imagery structures into five types:successive-extended method,jumping-spliced method,homogeneous-superposed method,contrastive-foiled method,radiative-chained method.
出处
《上海交通大学学报(哲学社会科学版)》
2025年第9期116-129,共14页
Journal of Shanghai Jiao tong University(Philosophy and Social Sciences)
基金
教育部课程思政示范项目“二语教学与中华文化传播”(研20210047)。
关键词
意象结构
诗歌
承续延展
跳转拼接
同质叠加
对照互衬
辐射连锁
imagery structures
poetry
successive-extended method
jumping-spliced method
homogeneous-superposed method
contrastive-foiled method
radiative-chained method
作者简介
刘芳,上海外国语大学教授(上海,200083)。
