| dc.contributor | 中文系 | |
| dc.creator (作者) | 錢瑋東 | |
| dc.creator (作者) | Chin, Wai-tong | |
| dc.date (日期) | 2023-03 | |
| dc.date.accessioned | 24-五月-2024 10:34:01 (UTC+8) | - |
| dc.date.available | 24-五月-2024 10:34:01 (UTC+8) | - |
| dc.date.issued (上傳時間) | 24-五月-2024 10:34:01 (UTC+8) | - |
| dc.identifier.uri (URI) | https://nccur.lib.nccu.edu.tw/handle/140.119/151178 | - |
| dc.description.abstract (摘要) | 《文心雕龍‧知音》有一饒富趣味的現象：有別於同書它篇多以「味」字喻示讀者對作品的賞玩,劉勰在該篇反覆以「鑒」、「照」等字詞指涉閱讀行為和審美活動。結合篇中「照辭如鏡」一語,本文將此種表述方式概括為「鏡喻」。〈知音〉全然不用慣常的「味喻」而改用「鏡喻」,從「概念譬喻」的認知理論視之,這現象關乎劉勰如何言說文學鑒賞或批評行為的問題,其背後隱現的則是劉勰的批評觀。本文論述即由此展開,首先釐析「味喻」和「鏡喻」在《文心雕龍》的定位,在檢討學界過度強調其「味喻」意義的同時,顯明「鏡喻」對詮釋劉勰「知音」批評觀的適用性;繼則落實到〈知音〉篇的討論,勘察劉勰於此篇中單用「鏡喻」的緣故,以及其所透顯的文學批評立場;進而在這基礎上聯繫「知音」之喻,反思學界聚訟已久的「六觀」批評方法與「知音」批評觀念之矛盾情形,冀能藉「鏡喻」所寓示的主體解蔽開顯工夫之視角釐清其間糾葛,以重新探究劉勰的知音論。 | |
| dc.format.extent | 127 bytes | - |
| dc.format.mimetype | text/html | - |
| dc.relation (關聯) | 澳門科技大學學報, Vol.17, No.1, pp.1-30 | |
| dc.subject (關鍵詞) | 文心雕龍; 知音; 鏡喻; 味喻; 六觀 | |
| dc.subject (關鍵詞) | The Literary Mind and the Carving of Dragons; The One Who Knows the Tone; Mirror metaphor; Taste metaphor; Six views | |
| dc.title (題名) | 鏡喻：《文心雕龍》「知音」批評觀新探 | |
| dc.title (題名) | Mirror Metaphor: A New Exploration of the Critical View of “The One Who Knows the Tone” in The Literary Mind and the Carving of Dragons | |
| dc.type (資料類型) | article | |
| dc.identifier.doi (DOI) | 10.58664/mustjournal.2023.03.001 | |
| dc.doi.uri (DOI) | https://doi.org/10.58664/mustjournal.2023.03.001 | |
