| 解读"对偶" |
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| 引用本文： | 王耘.解读"对偶"[J].南京师范大学文学院学报,2003(3):114-118. |
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| 作者姓名： | 王耘 |
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| 作者单位： | 复旦大学,中文系,上海,200433 |
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| 摘 要： | 对偶是唐代格律论中颇富创造性的美学范畴。对偶是一种整合。对偶是指在本领域内，将两种或多种相对存在的成分整合为一的过程。声对即通过字音进行意象融构的过程。义对即借助字义生成整一的本结构的过程。对偶的法则：均衡、融构、循环、生成，昭示着整个现实世界、道之世界以及艺术世界的全部秘密。
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| 关 键 词： | 对偶 唐朝 格律论 声对 义对 整合 美学 |
| 文章编号： | 1008-9853(2003)03-114-05 |
| 修稿时间： | 2003年6月16日 |
Interpretation of "Antithesis" |
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| Wang Yun.Interpretation of "Antithesis"[J].Journal of Chinese Language and Culture School Nanjing Normal University,2003(3):114-118. |
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| Authors: | Wang Yun |
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| Abstract: | Antithesis is the most creative aesthetic category in theories on poetry rules and regulations of the Tang Dynasty. Antithesis is some kind of incorporation that refers to the process of incorporating two or more opposing elements in the text into one. Phonetic antihesis is the process of image incorporation through pronunciation of words, while semantic antithesis is the process of incorporation of textual structure through meanings of words. Rules and regulations of antithesis include balance, incorporation, circulation, and creation, all of which reveal each and every secret of the realistic world, the Taoist world, and the world of art. |
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| Keywords: | antithesis phonetic antithesis semantic antithesis |
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