中國文化核心詞　Key Chinese COncepts

中國文化核心詞Key Chinese COncepts

義

/yì/

Righteousness

“義”的基本含義是合理、恰當(dāng)，引申而有兩重含義：其一，指人行事的合理依據(jù)與標準；其二，指在道德意識的判斷與引導(dǎo)下，調(diào)節(jié)言行使之符合一定的標準，以獲得合理的安處。宋代學(xué)者用“理”或“天理”的概念來解釋“義”，認為“義”就是“天理”所規(guī)定的合理的標準，同時要求言行符合“天理”。

The basic meaning of yi (義) is “reasonable” and “proper.” It has two extended meanings. One is the proper basis and standard for people’s actions. The other is to adjust one’s words or deeds to meet certain standards, under the guidance of mo0ral judgments. Scholars in the Song Dynasty used li (理) or “principles of heaven” to interpret yi, and considered yi to be the reasonable standard defined by the “principles of heaven,” and hoped that people’s words and deeds would fall in line with these principles.

引例 Citations:

君子喻于義。(《論語里仁》)

(君子知曉并遵循義。)

Junzi (a man of virtue) understands things and acts in accordance with righteousness. (The Analects)

義者，心之制，事之宜也。(朱熹《孟子集注》)

(義就是約束自己的內(nèi)心，使事情合宜。)

Righteousness means exercising self-restraint in order to do everyting properly. (Zhu Xi: Mencius Variorum)

體

/tǐ/

Form

有“本體”“體式”“形體”等含義?！绑w”作為文藝學(xué)?美學(xué)范疇,主要含義有三：其一，指文學(xué)藝術(shù)的某一門類、流派、體式。作品區(qū)別于其他文學(xué)藝術(shù)門類、流派、體式、作品的整體特征。它是包含了文學(xué)藝術(shù)的體式、內(nèi)容、語言、風(fēng)格等諸要素在內(nèi)所呈現(xiàn)出的總體形態(tài)與藝術(shù)特征。其二，指文學(xué)藝術(shù)作品的風(fēng)格，不包括體式、形式等方面的內(nèi)容。其三，指文學(xué)作品的基本體式，即文體或文學(xué)體裁。歷代文論家對文體的分類不盡相同，比如南朝梁蕭統(tǒng)《文選》將文體分為38種。中國古代文學(xué)的文體十分豐富多樣，各有自己的基本樣式與寫作要求，而風(fēng)格即是作者的藝術(shù)個性在作品中的顯現(xiàn)，有時也表現(xiàn)為一個時代、一個流派的文學(xué)特征。這一術(shù)語經(jīng)常與人名、朝代名等結(jié)合，如騷體、陶體、建安體等，用來指稱與作品風(fēng)格相關(guān)的藝術(shù)特征并廣泛運用于文藝批評與鑒賞中。

Ti (體), which generally refers to bodies, shapes, and the forms of characters, has three different meanings in the study of literature, art, and aesthetics. First, it refers to the features that distinguish one particular category, form, or school of literary works from others. These features represent the overall form and artistic characteristics, including the structure, content, language, style, and other essential elements. Second, it can refer to only the style of literary and artistic works, not their form or shape. Third, it can refer to the basic form of literary and artistic works, i.e., the writing style and literary genre. Scholars of literary theory in different historical periods did not use the same standards to classify the styles of literary works. For example, Xiao Tong of the Southern Liang proposed to classify literary and artistic works into 38 styles or categories in his Literary Anthology. There is a wide range of writing styles and literary genres in Chinese classical literature, each with basic style and writing requirements. It is believed that the style of a literary work reflects the author’s individual artistic character and sometimes also the literary and artistic features of a school in a particular era. This term is often used together with the name of a person or a dynasty to describe literary and artistic features relevant to a particular school of literature. Examples are the Sao Style (represented by the signature poem, Li Sao, written by famous poet Qu Yuan), the Tao Style (represented by poet Tao Yuanming), and the Jian’an Style (named after the reign period called Jian’an during the Han Dynasty). The term has been widely used in literary criticism and appreciation.

引例 Citations:

◇夫人善于自見，而文非一體，鮮能備善，是以各以所長，相輕所短。(曹丕《典論論文》)

(人總是善于看到自己的優(yōu)點，然而文章不止一種體式，很少有人擅長所有體式，因此各人總是以自己所擅長的文體寫作而輕視別人不擅長的文體。)

People are always quick to see their own strengths. However, given the number of styles of literary works, few people are accomplished in all the literary styles. Therefore, people always write in the styles they are good at while underestimating others’ works written in the styles they happen to be weak in. (Cao Pi: On Literary Classics)

◇自漢至魏，四百余年，辭人才子，文體三變。(《宋書謝靈運傳論》)

(自漢至魏，四百多年，寫詩文的才子[眾多]，而詩文的體式風(fēng)格，也經(jīng)歷了三次大的變化。)

For more than 400 years from the Han to the Wei dynasties, there had been numerous talented poets and three major transformations in poetic styles. (The History of Song)

Selected from Key Concepts in Chinese Thought and Culture published by Foreign Language Teaching and Research Press.