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最帥廚師電影
2025-03-31 14:04:31
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最帥廚師電影劇情介紹:
體制、體要、體性和體貌文體四大要素能不能構成文體呢？這還要看四者的關系。這種關系從某種意義上比個別的要素更為重要。四者的關系不是“體制+體要+體性+體貌”等于文體。也不能說文體就是作品的整體客觀存在。文本不等于文體。文體是作品中幾個有聯系的節點所形成的整體氣勢、情調、格局等。我的理解是，“體制”是文體基礎，寫作前它是一個空的框架，于是要求負載體要和折射體性，負載的意思也不是一般的填充，它是指創作的要義可以按照自然運轉邏輯變成飽滿的內容。長期以來，研究者只把“文體”看成“體裁”，即體裁的若干規定，如“五四”前后時期的研究，差不多都是把文體簡單理解為“體裁”。劉師培于1926年研究文筆之辨，又說：“文章之體裁，本有公式，不能變化?！盵15]這些研究意義不大。就是到了當代，起初的研究如褚斌杰的《中國古代文體概論》，仍停留在“體裁”的研究上面。后來大家注意到劉勰的《文心雕龍》的“體性”篇，這才開始了風格的研究，算是進了一步。直到徐復觀的《文心雕龍的文體論》發表，應該說是文體論研究中一次革命，不論徐氏所說的文體包括體裁、體要、體貌有何不足，界說有何不妥，其中的“升華”如何模糊，都應肯定他研究文體論的基本成績。體制負載了內容要義，體制就不是空概念，是在作品中呈現出來的實體。體制也不是死的，同樣的內容要點，可以寫成不同的體制，即或是同一體制，其負載的要義也可以不同，甚至體制也可以變，加點什么，減點什么，形成“變體”，說明體制的靈活性。我們要明確地說：體制完全不是孤立的規范組合，體制與體要的關系，是前者負載后者。離開“負載”功能，孤立的體制毫無意義。
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