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dc.contributor.author刘连杰
dc.date.accessioned2017-11-14T02:36:50Z
dc.date.available2017-11-14T02:36:50Z
dc.date.issued2004-09-30
dc.identifier.citation阜阳师范学院学报(社会科学版),2004,(05):49-52
dc.identifier.issn1004-4310
dc.identifier.otherFYSS200405012
dc.identifier.urihttps://dspace.xmu.edu.cn/handle/2288/153160
dc.description.abstract现象学视域理论的引入对中国的意境理论研究具有重要意义 ,从此可以得出更符合中国艺术、美学之精神的结论。视域是有形成对象的趋向但还未特化的意义之源 ,从这一点入手 ,意境之魂 (道 )、意境之形 (象 )、意境之神(境 )的视域结构便能得到呈现 ,一些中国传统文艺理论问题便能得到更合理的阐释
dc.description.abstractThe introduction of phenomenological theory of horizon has an important sense for studying of Chinese theory of literary mood,so that draws a convictive conclusion for the spirit of Chinese art and aesthetics.Horizon is the source of meaning,in which the tendency of coming into being already exists but doesn't bring into effect.Fromthis,the horizontal structure of the soul (Dao),the body (images) and the heart (mood) of literary mood call beindicated,in addition,Chinese traditional literary theoretical issue also can beexplained legitimately.
dc.language.isozh_CN
dc.subject视域
dc.subject意境
dc.subject
dc.subject
dc.subject
dc.subjecthorizon,literarymood,Dao,images,mood
dc.title论意境的视域结构
dc.title.alternativeHorizontal Structure of Literary Mood
dc.typeArticle


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