摘要
《莊子》寓言含義與現代寓言含義並非完全一致,在他的“泛寓言”體系下,自創的擬人名、精心選擇或獨創的動物名是其思想講述中的兩種故事主體名字類型。通過這種命名方式,莊子使抽象思想具體化,讓讀者以擬人名或動物名爲媒介,拓寬了審美想像的空間,引發情與理的契合,使讀者體驗到字面意義之外的思想含義。在這個過程中,莊子隱藏自身存在位置,讓不同擬人名和動物名類主體獲得獨立和自由,且部分主體具備主體間性,還讓擬人名和動物名的含義規範着寓言叙述結構;同時從文體發展來看,這種命名方式也對漢賦主體命名及構思有重要的影響。
thoughts,allowing readers to use anthropomorphic names or animal names as media,which broadened the space for aesthetic imagination,triggered the match between emotion and reason,and enabled readers to experience ideological meaning beyond the literal meaning.In this process,Zhuangzi hid his own existence position,allowed the subjects of different anthropomorphic names and animal names to obtain independence and freedom,part of them had inter-subjectivity,and also allowed them to standardize the allegory narrative structure.At the same time,from the perspective of stylistic development,this naming method also had an important influence on the naming in the character story and the design of Han Fu.
出处
《岭南学报》
2021年第2期197-220,共24页
Lingnan Journal of Chinese Studies
基金
國家社科基金重大項目“黄老道家思想史”(16ZDA106)階段性成果之一
关键词
莊子
寓言
擬人名
動物名
複調
Zhuangzi
allegory
anthropomorphic name
animal name
polyphony
