摘要
刘勰在《文心雕龙·练字》篇中提出的“字妖”批判理论,其核心诉求在于纠正汉魏六朝时期文学创作中存在的浮夸绮靡之风及用字生涩奇诡之弊。与之形成跨时空对话的俄国形式主义代表理论——什克洛夫斯基的“陌生化”学说,则是基于20世纪初先锋艺术运动的创新语境,主张通过语言形态重构、叙述策略创新及观察视角转换等手法,颠覆常规语言体系与惯性认知框架,进而延长读者的审美体验感。这两大文论体系虽在突破传统创作范式层面存在共通性,但在价值取向、实施路径和审美效应三方面存在差异。
The core appeal of the critical theory of“word demon”put forward by Liu Xie in his article Wenxin Diaolong·Practice Character is to correct the pompous and charming style and the drawback of using awkward and strange words existed in the literary creation during the Six Dynasties of the Han and Wei Dynasties.The representative theory of Russian formalism,which forms a dialogue across time and space,Shkrovsky’s doctrine of“strangeness”is based on the innovative context of the pioneering art movement at the beginning of the 20th century,advocating the subversion of the conventional language system and inertial cognitive frame through language form reconstruction,narrative strategy innovation and observation perspective conversion.Although these two literary systems have something in common at the level of breaking through the traditional creative paradigm,there are diff erences in value orientation,implementation path and aesthetic eff ect.
作者
郑冰洁
王广州
Zheng Bingjie;Wang Guangzhou(School of Humanity and Literary,Anqing Normal University,Anqing 246011,China)
出处
《黑河学院学报》
2025年第12期110-114,共5页
Journal of Heihe University
基金
安徽省哲学社会科学规划一般项目“《文心雕龙》章句拾遗调解”(AHSKYY2023D061)。
关键词
刘勰文论
“字妖”说
“陌生化”
创作范式
Liu Xie’s literary theorys
“word demon”theorys
“strangeness”
creative paradigm
