“兴会”与“迷狂”——从文学思维视角看中西灵感理论的异同

发布时间：2018-01-31 09:56

本文关键词： 兴会迷狂灵感天才文学思维　出处：《探索与争鸣》2017年05期 　论文类型：期刊论文

【摘要】："兴会"作为中国古代文艺创作传统中锤炼出来的审美范畴,通常是指审美感兴或艺术直觉中的灵感,即文艺家在瞬间直觉中对自然山水或宇宙人生进行深刻的、本真的体会和把握。"迷狂"通常是指艺术家有如"神灵附体"一样突然出现才思泉涌的超常发挥状态。"兴会"和"迷狂"都属于灵感思维的范畴。但二者的差异性也相当明显:中国文论体系中的"兴会",往往要求诗人情感抒发不得偏离王道教化的轨道,创作者自觉不自觉地接受"发乎情止乎礼义"的规训。相比之下,西方诗学史上的"迷狂"则表现出更为强烈的自由性和自主性,进入迷狂状态的创作者绝不迁就理性调控原则或情感节制要求。
[Abstract]:As a refined aesthetic category in the tradition of ancient Chinese literary and artistic creation, "Xinghui" usually refers to the inspiration of aesthetic feeling or artistic intuition. In other words, the writers and artists in the instant intuition of the natural landscape or cosmic life profound. True experience and grasp. "fanaticism" usually refers to the extraordinary state in which an artist suddenly appears as if he were a "spiritual possession". "exaltation" and "fanaticism" Both belong to the category of inspirational thinking, but the difference between the two is quite obvious: the "Xinghui" in the Chinese literary theory system. Poets are often asked to express their feelings not deviate from the track of Wang Tao, the creators consciously or unconsciously accept the discipline of "sending feelings and not only courtesy and righteousness". By contrast. In the history of western poetics, the "fanaticism" shows stronger freedom and autonomy, and the creators who enter into the ecstasy state will never give in to the principles of rational regulation or emotional control.
【作者单位】：中国社会科学院文学研究所;
【分类号】：I04
【正文快照】： 从文学理论的视角看,“兴会”与“迷狂”都属于还需要,它就还有被讨论的必要。灵感思维的范畴。“我们为什么要在这个亿万信息都有关灵感以及灵感思维,中外文论有许多不同唾手可得的时代讨论文学灵感呢?”在2015年中韩日的表述方式。尽管“灵感”概念纯属学术舶来品,但三国作

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