中華文化術(shù)語(yǔ)選篇

“中華思想文化術(shù)語(yǔ)”是濃縮了中華哲學(xué)思想、人文精神、價(jià)值觀念等的以詞或短語(yǔ)形式固化的概念和文化核心詞。它們是中華民族幾千年來對(duì)自然與社會(huì)進(jìn)行探索和理性思索的成果，積淀著中華民族最深沉的歷史智慧。本文選登“中華文化術(shù)語(yǔ)”詮釋和英文翻譯，使中國(guó)人更加理解中國(guó)古代哲學(xué)思想，也使世界更加了解中華思想文化。

雅俗

Highbrow and Lowbrow

指文藝作品品味的雅正與通俗、高尚與低俗。是文藝批評(píng)中評(píng)論作品品味高下的一對(duì)范疇。“雅”指作品的品位高雅正統(tǒng)，符合主流的意識(shí)形態(tài)；“俗”多指流行于大眾與民間的世俗審美標(biāo)準(zhǔn)。從文藝創(chuàng)作上說，高雅文藝優(yōu)美精良，但人工雕琢的痕跡較重；而通俗文藝源自民間，自然清新，質(zhì)樸粗放。唐以后，不少文人從通俗文藝中汲取養(yǎng)分，通俗文藝逐漸增多，豐富了社會(huì)文藝生活，推動(dòng)了文藝形態(tài)的豐富和發(fā)展。

Highbrow and lowbrow， a dichotomy（一分為二）in literary criticism， refer to two kinds of literary and artistic works， namely， the refined versus the popular， and the lofty versus the vulgar. Highbrow describes works that are elegant and reflect what conforms with mainstream ideology， whereas lowbrow-art forms tend to meet popular aesthetic standard. From the perspective of art creation， highbrow art may be exquisite， but often appears affected（做作的）， whereas lowbrow art， which has a folk origin， is natural， refreshing， unaffected， and unconstrained. From the Tang Dynasty onward， it became a trend for men of letters（文人，學(xué)者）to borrow the best from popular art， thus further spurring the growth of lowbrow art， enriching cultural life and leading to more diversified artistic expressions.

引例 Citations：

◎子曰：“惡紫之奪朱也，惡鄭聲之亂雅樂也，惡利口之覆邦家者。”（《論語(yǔ)·陽(yáng)貨》）

（孔子說：“我厭惡用紫色取代紅色，厭惡用鄭國(guó)的音樂擾亂雅正的音樂，憎惡伶牙俐齒而使國(guó)家傾覆的人?！保?/p>

Confucius said， “I detest replacing red with purple and interfering refined classical music with the music of the State of Zheng. I loathe those who overthrow the state with their glib tongues.” （The Analects）

◎是以繪事圖色，文辭盡情，色糅而犬馬殊形，情交而雅俗異勢(shì)。（劉勰《文心雕龍·定勢(shì)》）

（因此繪畫要講究色彩，寫文章要盡力表現(xiàn)思想感情。調(diào)配不同的色彩，所畫出的狗和馬形狀才有區(qū)別；思想感情有了交錯(cuò)融合，文章的雅俗才顯出不同的體勢(shì)。）

The art of painting requires masterful use of colors， while the art of writing entails effective expression of thoughts and emotions. One needs to blend different colors in order to depict the different shapes of dogs and horses. Only writings that integrate thoughts and emotions demonstrate their highbrow or lowbrow qualities. （Liu Xie： The Literary Mind and the Carving of Dragons）

知音

Resonance and Empathy

體會(huì)和理解文藝作品的意蘊(yùn)與作者的思想感情。原指音樂欣賞中的知己，后經(jīng)魏晉南北朝時(shí)期文藝批評(píng)家的闡釋，用來泛指文藝鑒賞中的心心相印、互相理解?！爸簟弊鳛槲膶W(xué)批評(píng)的核心概念，涉及文藝創(chuàng)作與鑒賞中的個(gè)體差異與共性等諸多問題，有著豐富的精神蘊(yùn)涵，與西方的讀者反應(yīng)批評(píng)理論、接受美學(xué)、解釋學(xué)等基本思想有一致之處。

The term is about appreciating and understanding the ideas in literary and artistic works and the thoughts of their authors. The original meaning was feeling a sense of resonance with music. It was later extended by literary critics in the Wei， Jin， and Southern and Northern dynasties to mean resonance or empathy between writers/ artists and their readers/viewers. As a core concept in literary criticism， it touches upon both general and particular issues in artistic creation and appreciation， involves rich intellectual implications， and meshes with（相嚙合）the audiences response in Western criticism， receptive aesthetics， and hermeneutics（解釋學(xué)）.

引例 Citations：

◎是故不知聲者不可與言音，不知音者不可與言樂，知樂則幾于禮矣。（《禮記·樂記》）

（不懂自然聲音的人無法與其談?wù)撘袈?，不懂音律的人無法與其談?wù)撘魳?，通曉音樂的人也就接近懂得禮了。）

Talking about melody with someone who has no ear for natural sounds would be a waste of time， and so would discussing music with someone who knows nothing about melody. One who knows music is close to understanding social norms. （The Book of Rites）

◎知音其難哉！音實(shí)難知，知實(shí)難逢，逢其知音，千載其一乎?。▌③摹段男牡颀垺ぶ簟罚?/p>

（理解音樂是多么困難??！音樂實(shí)在難于理解，理解音樂的人很難遇到，要遇到理解音樂的人，恐怕是千年一遇呀?。?/p>

It is such a challenge to understand music！ Since music is so hard to understand， it is difficult to find people who can appreciate it. It may take a thousand years to find someone who understands music！ （Liu Xie： The Literary Mind and the Carving of Dragons）