“归”:中国诗性美学一个关键元范畴

A Meta-category of Chinese Poetic Aesthetics in the Chinese Character“Gui”

"归"字在"五经"及中国古典文学、文论中举不胜举、俯拾可得。在文学的规约和语义的演变中,"归"字逐步从女子出嫁、归省之义演变为返回、回归的家园感和归属感,并具有文学家园体验、思乡怀旧和精神超越的价值取向,进而形成中国古典诗性空间和诗性美学的面貌。从文学表征而言,"归"彰显出"重情恋家的归乡情结"、"登山临水的归隐体察"和"同情超越的归真之志"三个层面;从美学层面而言,其所建构的家园美学和空间体验也使得"归"成为中国文论和美学的关键元范畴,构建了"向内转"的诗性美学。而由此生发的诗性空间也呼应、契合了西方诗性智慧的传统,从而共同在现代、后现代的文化语境中强调重新回归人性完满的生存状态发挥积极而重要的作用。

The Chinese character ＂Gui＂ is widely used in the Five Classics, classical Chinese literature and literary theories. In literary practice and its semantic evolution, ＂Gui＂ has experienced shifts in meaning from ＂a woman＇ s marriage to sb. or a married woman returning home＂ to ＂returning home or a sense of homeland belongingness＂ with the value orientation of a literary experience of homesickness, nostalgia and spiritual transcendence, which has the poetic space and aesthetics of Chinese classical poetry. In terms of literary representation, ＂Gui＂ highlights ＂ nostalgic complex＂, ＂hermitage in mountains and valleys＂ and ＂spiritual transcendence in returning to nature＂. At the aesthetic level, its construction of homeland aesthetics and spatial experience also makes ＂Gui＂ enter the list of keywords of Chinese literary theories and aesthetics, and builds up the meta-category of poetic aesthetics with the trait of ＂turning inward＂. And thus the generated poetic space goes in line with the tradition of western poetic wisdom, which combine to appeal to the returning to perfect human exist- ence in the contexts of modern and post-modern cultures.