其他篇名 Alternative Title
Qing jing jiaorong (fusion of scene and emotion) and the formation of an image paradigm in classical Chinese poetry
Qing jing jiaorong 情景交融 (fusion of scene and emotion) has been widely used in the area of Chinese studies, but it is an extremely ambiguous concept that has been understood in various ways. Aside from indicating the effect of an abstract condition, it does not provide any clues for interpretation or theoretical extension, insofar as its definition has stagnated at trite expressions such as “feeing merging with the scene” or vice versa. This paper postulates the concept, “fusion of scene and emotion,” is not only an aesthetic development that marks the maturity of the lyrical art in classical Chinese poetry, but also a paradigm of forming the poetic context that poets self-consciously followed and practiced on the theoretical level under the guidance of certain aesthetic consciousness and writing strategy. Analogue to “fusion of scene and emotion” are concepts such as “projecting emotion into the scene,” “expressing emotion through the scene,” ‘‘transforming the scene into emotion,” and “connecting the scene to emotion,” which reflect many generations of theorists’ concern with scene and emotion in poetry. This paper conducts a comprehensive review of these concepts. Through a diachronic investigation on the relationship between scene and emotion in classical Chinese poetry, this paper argues that the “fusion of scene and emotion” paradigm of forming the structure of the image gradually developed alongside the shaping of the imagistic expression in the mid-Tang dynasty poetry.
情景交融, 意象化, 寫作範式, 定型, 中唐詩, Fusion of Scene and Emotion, Image, Paradigm, Mid-Tang Dynasty Poetry
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參考書目格式 Recommended Citation
蔣寅 (2019)。情景交融與古典詩歌意象化表現範式的成立祉。《嶺南學報》，第十一輯，頁1-31。檢自 http://commons.ln.edu.hk/ljcs_new/vol11/iss1/1