本文選題：書寫概況 + 本體論�。� 參考：《廣東外語外貿(mào)大學(xué)》2017年碩士論文

【摘要】：目前,中國(guó)文學(xué)史的研究工作正處于開拓新領(lǐng)域、挖掘新內(nèi)容的調(diào)整時(shí)期,許多學(xué)者都將研究目光投向了海外。放眼全世界,與中國(guó)文化淵源最深的國(guó)度,無疑是中國(guó)一衣帶水的鄰邦——日本。盡管已有研究資料表明,最早的“中國(guó)文學(xué)史”編寫是俄羅斯人著了先鞭,但真正對(duì)中國(guó)本土早期的文學(xué)史書寫產(chǎn)生重大影響的,則是日本人所編寫的中國(guó)文學(xué)史。日本的第一本《中國(guó)文學(xué)史》是1882年由末松謙澄編纂。從1882年至今135年間,日本學(xué)者一共編寫了70余部中國(guó)文學(xué)史,學(xué)者們從最初的摸索嘗試到后來的反復(fù)完善、再到掀起編纂高潮、以及現(xiàn)在的編纂反思,可謂是自成一派。而在這百余年間,先后涌現(xiàn)出一批如久保天隨、兒島獻(xiàn)吉郎、{9川種郎、青木正兒等著名文學(xué)史家。早期的日本“中國(guó)文學(xué)史”內(nèi)容復(fù)雜結(jié)構(gòu)龐雜,文字、官制等都屬文學(xué)范疇,1903年,久保天隨首次運(yùn)用西方的“純文學(xué)”理念編寫中國(guó)文學(xué)史,將“文學(xué)”從“國(guó)學(xué)”的體系中徹底脫離出來。在日人所編寫的“中國(guó)文學(xué)史”中,有不少文體論著,如{9川種郎的《支那小說戲曲小史》,就是最早的中國(guó)小說戲曲專門史。它的出現(xiàn),打破了原先“詩文一統(tǒng)天下”的格局,豐富了日本“中國(guó)文學(xué)史”的內(nèi)容,使小說戲曲成為中國(guó)文學(xué)的一部分,具有很強(qiáng)的研究?jī)r(jià)值。相比之下,“詞學(xué)”作為一門比較冷門的研究,近些年才受到矚目。20世紀(jì)初,在日本的影響下,中國(guó)開始書寫自己的文學(xué)史。早期中國(guó)學(xué)者編寫的文學(xué)史,在一定程度上完全照搬或機(jī)械模仿日本作品。如曾毅的《中國(guó)文學(xué)史》不僅仿照了兒島獻(xiàn)吉郎的《支那文學(xué)史綱》,還借鑒了久保天隨、高瀨武次郎的作品。新文化運(yùn)動(dòng)爆發(fā)后,中國(guó)學(xué)者們開始了文學(xué)史撰寫的自我摸索與創(chuàng)新,胡適的《白話文學(xué)史》是這個(gè)時(shí)期的代表著作�？梢哉f,中國(guó)本土的文學(xué)史書寫大致走過了這樣一條道路:早期,生硬地模仿日本;二三十年代,自我的摸索創(chuàng)新;再到后來的理性批判,直至完全擺脫日人的影響。本研究將對(duì)書寫歷史、文學(xué)觀、文體等基本問題進(jìn)行研究,以總結(jié)日本的書寫的規(guī)律、經(jīng)驗(yàn)、文學(xué)史觀的形成過程。同時(shí),此次研究意在讓我們認(rèn)識(shí)“自我”和“他者”之間關(guān)系,從日本“中國(guó)文學(xué)史”的書寫反觀我國(guó)本土文學(xué)史的書寫,以更全面客觀地認(rèn)識(shí)“自我”,這也是本次研究的意義所在。
[Abstract]:At present, the research of the history of Chinese literature is in the period of opening up new fields and excavating new contents, many scholars have turned their attention to overseas.Looking around the world, the country with the deepest history of Chinese culture is undoubtedly China's neighboring country-Japan.Although it has been shown that the earliest writing of the History of Chinese Literature was written by the Russians, it was the Japanese who wrote the history of Chinese literature that really had a great influence on the writing of the early literary history of China.The first Japanese book, History of Chinese Literature, was compiled in 1882.From 1882 to 135 years, Japanese scholars have written more than 70 Chinese literary history. From the initial trial to the repeated perfection, and then to the compilation climax, and the current compilation reflection, the Japanese scholars can be said to be a school of their own.During these more than one hundred years, a number of famous literary historians such as Ishima Xianjilang, {9 Kawagawa species Lang, Aoki Zhenger and so on have emerged.The contents of the early Japanese "History of Chinese Literature" were complicated and complicated, and the characters and official system were all in the category of literature. In 1903, Kubo Tien wrote the history of Chinese literature for the first time using the idea of "pure literature" in the West."Literature" from the system of "Chinese Studies" out of the total.In the History of Chinese Literature written by Japanese, there are many literary works, such as {9 Kawagawa's A short History of ** novels and operas, which is the earliest special history of Chinese novels and operas.Its appearance breaks the original pattern of "poetry and prose dominating the whole world", enriches the content of Japanese "history of Chinese literature", and makes the novel and drama become a part of Chinese literature, which has strong research value.In contrast, ci studies, as a relatively unpopular study, have attracted much attention in recent years. At the beginning of the 20th century, under the influence of Japan, China began to write its own literary history.The literary history written by early Chinese scholars completely copied or mechanically imitated Japanese works to some extent.For example, Zeng Yi's History of Chinese Literature not only mimics Ishima Xianjilang's History of **, but also draws lessons from the works of Kubo Tien and Gao Seto.After the outbreak of the New Culture Movement, Chinese scholars began to explore and innovate themselves in writing literary history. Hu Shi's History of vernacular Literature is the representative work of this period.It can be said that the writing of the history of Chinese literature has roughly gone through such a road: in the early years, the hard imitation of Japan; in the 1920s and 1930s, the self-exploration and innovation; and then in the later rational criticism, until the complete escape from the influence of the Japanese.This study will study the basic problems of writing history, literary view, literary style and so on, in order to summarize the law, experience and formation process of Japanese writing history.At the same time, the purpose of this study is to make us understand the relationship between "self" and "other person", and from the writing of Japanese "history of Chinese literature" to look at the writing of the history of Chinese literature in China, so as to understand "self" more comprehensively and objectively.This is also the significance of this study.
【學(xué)位授予單位】：廣東外語外貿(mào)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I209

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相關(guān)期刊論文 前2條

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2 趙苗;;久保天隨和他的中國(guó)文學(xué)史[J];文史知識(shí);2014年04期

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本文編號(hào)：1737608