傅山詩文批評(píng)研究
發(fā)布時(shí)間：2018-09-11 12:31
【摘要】：明末清初天崩地解的歷史變局及其產(chǎn)生的遺民現(xiàn)象具有重要的解讀意義與價(jià)值。傅山作為遺民群體的代表,其遭際與身份轉(zhuǎn)換尤為典型,而這些并且直接影響到了傅山詩文批評(píng)的理念與修辭。本文從傅山的文士身份出發(fā),著重揭示文人傅山的遺民旨趣與名士風(fēng)范,凸出其在僑民心態(tài)影響下的種種似是而非、難以索解的批評(píng)話語,以期接近更真實(shí)的傅山的歷史世界。緒論部分主要闡述論文選題緣起及當(dāng)下學(xué)界對(duì)以傅山為代表之北學(xué)的研究現(xiàn)狀,重點(diǎn)揭示出傅山作為遺民士大夫的特殊性,他的文士風(fēng)味與異端氣質(zhì)與傳統(tǒng)遺民研究對(duì)象的差異,并進(jìn)而影響到其詩文批評(píng)理論的建樹。第一章由晚明的整體學(xué)術(shù)生態(tài)入手,著重分析晚明以訖清初特定的社會(huì)背景和時(shí)代心理,并以此探究晚明思潮的重奇尚異之風(fēng)與夫?qū)壡榫_靡文學(xué)傳統(tǒng)的承繼以及在清初嚴(yán)酷政治生態(tài)逼hZ下批評(píng)修辭的轉(zhuǎn)圜這一整體文學(xué)史進(jìn)程。同時(shí),從文學(xué)研究的內(nèi)在理路著眼,著重把握傅山批評(píng)修辭之下審美底色的一貫性,即其所標(biāo)舉的美學(xué)范式如“拙”“淡”“真”有著怎樣的時(shí)代性和地域性意義。另外,本文將通過一系列文獻(xiàn)的釋讀,著力揭示并還原出一個(gè)矛盾者傅山。這個(gè)傅山最明顯的特征是通過張裂的話語系統(tǒng)來構(gòu)筑修辭,寄寓真性情于謬悠之說、荒唐之言、無端崖之辭中。不揭示出這個(gè)傅山,是不足以顯示傅山,以及以傅山為代表的遺民群體的全人格的。第二章試圖把握遺民群體整體的詩文觀念,并在此基礎(chǔ)上對(duì)傅山的詩文批評(píng)作管窺蠡測(cè)。遺民士大夫因了志士身份的操持,故普遍傾向于對(duì)文以載道的古典價(jià)值的復(fù)歸。將文章創(chuàng)作提升到氣節(jié)之大的高度,而時(shí)代的特殊性——經(jīng)世之思的學(xué)術(shù)精神的復(fù)歸又使得他們顯示出普遍的兼容并包的豪杰氣,故這時(shí)遺民群體往往致力于文人之文與志士之文的辨析,彰顯出空所依傍,堂廡闊大的為學(xué)蘄向。尤其值得注意的是,此時(shí)身份整合的艱難使得他們頻頻陷入身份確認(rèn)的尷尬處境,于是普遍表現(xiàn)出一種戾氣,其直接影響是批評(píng)修辭上每每展現(xiàn)出前后矛盾與似是而非。這種張裂背后是遺民群體僑民心態(tài)的生動(dòng)體現(xiàn)。第三章闡述傅山的詩歌批評(píng)。其詩歌批評(píng)與文章批評(píng)顯示出一貫的特點(diǎn),即對(duì)真性情的標(biāo)揭貫穿始終,由此傅山心向陸機(jī)《文賦》,顯示出對(duì)魏晉六朝文學(xué)自覺時(shí)代重情緣性批評(píng)傳統(tǒng)的承續(xù)。而“專向自己心地上作老實(shí)話”又幾乎完全是晚明式的,泰州式的。作為主觀之詩人與客觀之詩人的統(tǒng)一,傅山的詩歌批評(píng)講求情、氣、才與“外之觸磕”的有機(jī)結(jié)合。關(guān)于詩法,他提出“法本法無法”,既強(qiáng)調(diào)大法不私,上根不竊,又對(duì)津津焉以法自固的庸俗復(fù)古主義作風(fēng)表達(dá)最強(qiáng)烈的蔑棄,從而展現(xiàn)出蕭然物外、自得天機(jī)的為學(xué)氣質(zhì)。第四章闡發(fā)傅山的文章觀念。本章從傅山文論之淵藪《序西北之文》入手,著重探究“奇”之為文在清初的人文環(huán)境中是怎樣走向深化的。對(duì)慣常審美習(xí)慣的顛覆與文字表達(dá)中的頡滑是怎樣在體現(xiàn)傅山深刻的僑民心態(tài)的同時(shí)展現(xiàn)其對(duì)古典文章審美價(jià)值的峻切操持的。相應(yīng)的,因了他的志士身份,保存故邦文獻(xiàn)的自覺使得他賦予文章創(chuàng)作以更大的意義,“存續(xù)吾家文種”則是他絕不妥協(xié)、絕不寬宥的思想的極致,“文種”在這里直是傅山終身操持之大法的指稱了。馀論從同時(shí)代書家王鐸的詩文批評(píng)著作《文丹》說起,通過與傅山一系列批評(píng)修辭的比較,泛論從晚明以來的奇文觀念在清初的瀾洄,并進(jìn)而探究“極神奇即是極中庸”這一古老哲學(xué)命題所包蘊(yùn)的在文章學(xué)風(fēng)軌法度闡釋實(shí)踐上之意義。
[Abstract]:Fu Shan, as a representative of the group of survivors, is particularly typical of the transformation of circumstances and identities, which directly affects the concept and rhetoric of Fu Shan's poetic criticism. This paper starts from Fu Shan's literati identity and focuses on revealing the literati. Fu Shan's deceased people's interest and famous scholar's demeanor highlight his specious and difficult-to-understand criticism under the influence of overseas Chinese mentality in order to approach the more real historical world of Fu Shan. The introduction mainly elaborates the origin of the thesis and the current academic research on the North Learning represented by Fu Shan, with emphasis on revealing Fu Shan as a legacy. The particularity of the literati and officialdom, the difference between his scholarly flavor and heresy and the research object of the traditional survivors, and then influence the construction of his poetic criticism theory. Chapter one starts with the overall academic ecology of the late Ming Dynasty, and focuses on the analysis of the specific social background and the psychology of the times in the late Ming Dynasty to criticize the early Qing Dynasty, and explores the singularity of the ideological trend in the late Ming Dynasty. At the same time, from the point of view of the internal theory of literary research, this paper emphasizes the consistency of the aesthetic background under Fu Shan's critical rhetoric, that is, his aesthetic paradigm such as "clumsy", "light" and "light". What is the epochal and regional significance of "truth"? In addition, this paper will try to reveal and restore a contradictor, Fu Shan, through a series of literary interpretations. The most obvious feature of Fu Shan is that he constructs rhetoric by means of Zhang Jie's discourse system, embodying the true temperament in the absurd, the absurd, the unprovoked cliff. Fu Shan is not enough to show the whole personality of Fu Shan and the group of the survivors represented by Fu Shan. Chapter 2 tries to grasp the whole concept of poetry and prose of the survivors, and on this basis to make a peep at Fu Shan's poetic criticism. Gui. To elevate the creation of articles to a high degree of integrity, and the return of the special characteristics of the times - the academic spirit of thinking of the world makes them show a universal and inclusive heroism, so at this time the group of survivors often devoted themselves to the literary and aspiring scholars of the text of the discrimination, showing the empty place to rely on, the magnificent for the study. It is worth noting that the difficulty of identity integration at this time makes them fall into the embarrassing situation of identity recognition frequently, so they generally show a kind of hostility. Its direct impact is that the rhetoric of criticism always shows contradictions and paradoxes. Behind this split is a vivid reflection of the mentality of the group of the survivors. Chapter Three expounds Fu Shan's poetry. His poetic criticism and essay criticism show a consistent feature, that is, the exposition of the true temperament runs through the whole process, thus Fu Shanxinxiang Lu Ji < Wenfu > shows the continuation of the tradition of empathy-based criticism in the conscious era of literature in the Wei, Jin and Six Dynasties. As the unity of subjective poet and objective poet, Fu Shan's poetic criticism stresses emotion and spirit, which is the organic combination of "external touch". Chapter Four expounds Fu Shan's concept of writing. Starting from the origin of Fu Shan's literary theory, this chapter mainly explores how the "strange" style of writing deepened in the early Qing humanistic environment. How the subversion of the habitual aesthetic habits and the slippery expression of the characters reflected Fu Shanshen Correspondingly, because of his ideological status as a scholar, and his consciousness of preserving the literature of his native country, he endowed the creation of the article with greater significance. To preserve our family culture is the extreme of his uncompromising and never lenient thought, and "the genre of literature" is the follower here. The last part begins with Wang Duo's poem criticism work Wendan, and compares it with Fu Shan's series of criticism rhetoric to generalize the outlandish writing concept since late Ming Dynasty in the early Qing Dynasty, and then explores the philosophical proposition that "the extreme magic is the golden mean" contained in the ancient philosophical proposition. The law of wind speed explains the practical significance.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I206.2
本文編號(hào)：2236696
[Abstract]:Fu Shan, as a representative of the group of survivors, is particularly typical of the transformation of circumstances and identities, which directly affects the concept and rhetoric of Fu Shan's poetic criticism. This paper starts from Fu Shan's literati identity and focuses on revealing the literati. Fu Shan's deceased people's interest and famous scholar's demeanor highlight his specious and difficult-to-understand criticism under the influence of overseas Chinese mentality in order to approach the more real historical world of Fu Shan. The introduction mainly elaborates the origin of the thesis and the current academic research on the North Learning represented by Fu Shan, with emphasis on revealing Fu Shan as a legacy. The particularity of the literati and officialdom, the difference between his scholarly flavor and heresy and the research object of the traditional survivors, and then influence the construction of his poetic criticism theory. Chapter one starts with the overall academic ecology of the late Ming Dynasty, and focuses on the analysis of the specific social background and the psychology of the times in the late Ming Dynasty to criticize the early Qing Dynasty, and explores the singularity of the ideological trend in the late Ming Dynasty. At the same time, from the point of view of the internal theory of literary research, this paper emphasizes the consistency of the aesthetic background under Fu Shan's critical rhetoric, that is, his aesthetic paradigm such as "clumsy", "light" and "light". What is the epochal and regional significance of "truth"? In addition, this paper will try to reveal and restore a contradictor, Fu Shan, through a series of literary interpretations. The most obvious feature of Fu Shan is that he constructs rhetoric by means of Zhang Jie's discourse system, embodying the true temperament in the absurd, the absurd, the unprovoked cliff. Fu Shan is not enough to show the whole personality of Fu Shan and the group of the survivors represented by Fu Shan. Chapter 2 tries to grasp the whole concept of poetry and prose of the survivors, and on this basis to make a peep at Fu Shan's poetic criticism. Gui. To elevate the creation of articles to a high degree of integrity, and the return of the special characteristics of the times - the academic spirit of thinking of the world makes them show a universal and inclusive heroism, so at this time the group of survivors often devoted themselves to the literary and aspiring scholars of the text of the discrimination, showing the empty place to rely on, the magnificent for the study. It is worth noting that the difficulty of identity integration at this time makes them fall into the embarrassing situation of identity recognition frequently, so they generally show a kind of hostility. Its direct impact is that the rhetoric of criticism always shows contradictions and paradoxes. Behind this split is a vivid reflection of the mentality of the group of the survivors. Chapter Three expounds Fu Shan's poetry. His poetic criticism and essay criticism show a consistent feature, that is, the exposition of the true temperament runs through the whole process, thus Fu Shanxinxiang Lu Ji < Wenfu > shows the continuation of the tradition of empathy-based criticism in the conscious era of literature in the Wei, Jin and Six Dynasties. As the unity of subjective poet and objective poet, Fu Shan's poetic criticism stresses emotion and spirit, which is the organic combination of "external touch". Chapter Four expounds Fu Shan's concept of writing. Starting from the origin of Fu Shan's literary theory, this chapter mainly explores how the "strange" style of writing deepened in the early Qing humanistic environment. How the subversion of the habitual aesthetic habits and the slippery expression of the characters reflected Fu Shanshen Correspondingly, because of his ideological status as a scholar, and his consciousness of preserving the literature of his native country, he endowed the creation of the article with greater significance. To preserve our family culture is the extreme of his uncompromising and never lenient thought, and "the genre of literature" is the follower here. The last part begins with Wang Duo's poem criticism work Wendan, and compares it with Fu Shan's series of criticism rhetoric to generalize the outlandish writing concept since late Ming Dynasty in the early Qing Dynasty, and then explores the philosophical proposition that "the extreme magic is the golden mean" contained in the ancient philosophical proposition. The law of wind speed explains the practical significance.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I206.2
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