論意象連結之媒介
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Date
2008-03-??
Authors
陳佳君
Journal Title
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Volume Title
Publisher
國文學系
Department of Chinese, NTNU
Department of Chinese, NTNU
Abstract
所謂的「意象」，乃結合「意」與「象」而成。若對應於形成辭章內容之四大要素而言，則「情」與「理」為源於主體之「意」；「景（物）」與「事」為取自客體的「象」。意象之形成，源自於主客體的互動與交融，而這質的相同或相異的主（意）客（象）之間之所以能相互契合統一，則是因為兩者在力的圖式上「同構」。故本文先從同構原理，論述意象連結的內部紐帶。而此聯繫起意象的媒介--「構」，具有「個別與整體」（偏全）、「顯露與隱藏」（顯隱）、「對比與調和」的不同特性，並且都能在古典詩文中獲得印證。
The term “image” is made up of a combination between “concept” and “form”. Corresponding to the four main elements in literacy works, “sentiment” and “reason” originate from the subjective “concept”; on the other hand, “view (object)” and “matter” originate from the objective “form”. The formation of image originates from the interlink between concept and form. The reason why the subjective concept and the objective form, which are of the same or different nature, can come together in mutual agreement and unify, is because both of them are in fact isomorphs from the concept of field force. This article aims at the theory of isomorphs as the underlying foundation to first analyze the inner media of the interlink between concept and form. The author examines the diversified configuration types of isomorphs in respect of “partiality vs. wholeness”, “overtness vs. covertness” and “contrast vs. harmony” by the classic poetry and prose.
The term “image” is made up of a combination between “concept” and “form”. Corresponding to the four main elements in literacy works, “sentiment” and “reason” originate from the subjective “concept”; on the other hand, “view (object)” and “matter” originate from the objective “form”. The formation of image originates from the interlink between concept and form. The reason why the subjective concept and the objective form, which are of the same or different nature, can come together in mutual agreement and unify, is because both of them are in fact isomorphs from the concept of field force. This article aims at the theory of isomorphs as the underlying foundation to first analyze the inner media of the interlink between concept and form. The author examines the diversified configuration types of isomorphs in respect of “partiality vs. wholeness”, “overtness vs. covertness” and “contrast vs. harmony” by the classic poetry and prose.