【摘要】：曇陽子形象建構(gòu)是一場文化權(quán)利的爭奪。王世貞、王錫爵以曇陽子種種靈異事件為契機,意圖通過曇陽子信仰體系的建構(gòu)以維系他們?nèi)找嫦陆档氖浪椎匚?為此展開了對曇陽子的一系列"附魅"活動。二王氏的政敵張居正、徐學謨等力圖破壞他們對這一新信仰體系的建構(gòu),以消除二王氏的社會影響,為此對曇陽子進行了一系列"祛魅"舉措。在曇陽子兩種形象的建構(gòu)過程中,激烈的文化權(quán)利之爭隨著世俗權(quán)利的強行介入而暫時消歇,然而附著在曇陽子形象上的文化意義卻在歷史空間中不斷流動,"附魅"與"祛魅"彼此糾纏在一起,同時因權(quán)利場域之外的第三者或?qū)儆诹硗鈭鲇虻拿耖g出于探求本相之目的而賦予曇陽子"返魅"意義,從而使曇陽子形象的建構(gòu)愈顯復雜。
[Abstract]:The image construction of Tanyang son is a struggle for cultural rights. Wang Shizhen, Wang Xijue, taking various spiritual events of Tanyang son as a turning point, intends to maintain their declining secular status through the construction of the belief system of Tan Yang Zi, thus launching a series of "enchantment" activities to Tan Yang Zi. Zhang Juzheng and Xu Xuemu, his political opponents, tried to destroy their construction of this new belief system to eliminate the social influence of the second Wang's, and thus carried out a series of "disenchantment" measures to Tan Yang Zi. In the process of constructing Tanyangzi's two images, the fierce debate of cultural rights was temporarily eliminated with the forced intervention of secular rights. However, the cultural significance attached to the image of Tanyang son is constantly flowing in the historical space, and "enchantment" and "disenchantment" are entangled with each other. At the same time, the third party outside the field of right or the folk belonging to another field endow the meaning of "reenchantment" with the meaning of "reenchantment" for the purpose of seeking the truth, thus making the construction of the image of Tan Yang son more complicated.
【作者單位】： 蘭州大學文學院;
【基金】：國家社科基金重大招標項目“《王世貞全集》整理與研究”(項目編號:12&ZD159)的階段性成果
【分類號】：K248

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