【摘要】：傳統(tǒng)的遺民論述形塑了明遺民處清世的基礎(chǔ)形象：嚴(yán)肅森然、郁郁寡歡、憤世嫉俗。幾近形成了某種標(biāo)準(zhǔn)化的書寫規(guī)范。但事實(shí)上，遺民社會也固有人性化的生動面，其形跡和心跡都呈現(xiàn)出繁復(fù)的差異性，任何籠統(tǒng)的描述都難以盡之。因此，本文以遺民的“樂”為視角，試圖復(fù)原遺民社會生動、豐滿的生活形態(tài)；并將“樂”視為一種文化現(xiàn)象、一種分析工具，發(fā)露遺民群體復(fù)雜而隱微的精神世界，展現(xiàn)明清文化轉(zhuǎn)捩之際的人文風(fēng)貌，從一個側(cè)面觀察遺民這一族群及其所代表的文化形態(tài)的歷史走向。 第一章，提供“樂”的五類示例，表明遺民的真實(shí)生活并不如遺民錄的讀者所想象的凄慘萬狀。 第二章，以“樂”為視角分析遺民的處世心態(tài)。整體上將遺民分為憤世和適世兩類。憤世者固然有快樂，但在他們的精神世界，“樂”是一種被拒絕的情緒。適世者重建了人生的常態(tài)，對生活的閑適趣味不再摒絕于外。但適世之中仍存在兩種情形，或心懷苦澀、或處變不驚，此即屈從、通達(dá)之別；而襟抱和動機(jī)的個體殊異，又使通達(dá)者的“遺民”境界人各不同。 第三章，對“樂”進(jìn)行文化、思想的解讀。作為一種文化現(xiàn)象，“樂”產(chǎn)生于晚明灑脫、活潑的士人風(fēng)習(xí)的慣性；作為一種生活選擇，“樂”是遺民對其“遺民”身份、文化品位的自覺體認(rèn)。因此，“樂”又可視作遺民變相的社會文化對抗。而視乎遺民對樂的自覺追求，甚至開展出分外豐富的表現(xiàn)形式及言說方式，則與此一時期思想領(lǐng)域?qū)ψ匀蝗诵缘那楦�、欲求、私利的肯認(rèn)有關(guān)。 第四章，解讀“樂”的悲劇性文化歸宿。時間的流逝、時局的轉(zhuǎn)換，不僅使遺民的自然生命磨損、隕落，甚至以“樂”為表征的人文風(fēng)貌、“遺民”品性，也在不可避免的遺失當(dāng)中。這是“樂”的悲劇，，也是遺民這一族群、一個朝代、一種文化形態(tài)的悲劇。
[Abstract]:The traditional exposition shapes the basic image of Qing Dynasty in Ming Dynasty: serious, melancholy and cynical. Almost formed some kind of standardized writing standard. But in fact, the society of the bereaved people also has the vivid aspect of humanization, its sign and the mind show the complicated difference, any general description is difficult to finish. Therefore, from the perspective of the "music" of the survivors, this paper attempts to restore the vivid and full life form of the society. "Music" is regarded as a cultural phenomenon and an analytical tool, which reveals the complex and subtle spiritual world of the bereaved people, and shows the humanistic style and features of the cultural transition of the Ming and Qing dynasties. To observe the historical trend of this ethnic group and its representative cultural form from one side. The first chapter provides five kinds of examples of music, which show that the real life of the survivors is not as miserable as the readers. The second chapter analyzes the mentality of the bereaved people from the perspective of music. As a whole, the bereaved people are divided into two categories: indignant and suitable. Angry people are happy, but in their spiritual world, joy is a rejected emotion. The fittest have rebuilt the normal of life, and the leisure of life is no longer excluded. However, there are still two kinds of situations in the world, either bitter in heart or undisturbed, which is subservient and different, and the difference of the individual of the mind and the motive makes the state of the "bereavement" of the savvy different. The third chapter, the cultural, ideological interpretation of music. As a kind of cultural phenomenon, "Yue" comes from the inertia of the free and easy and lively scholars' customs in the late Ming Dynasty, and as a kind of life choice, "Yue" is the conscious recognition of the "bereaved" identity and cultural taste of the bereaved people. Therefore, music can be regarded as the social and cultural confrontation of the bereaved people. Depending on the people's conscious pursuit of music, and even developing a particularly rich form of expression and speech, it is related to the emotion, desire and self-interest of natural human nature in the field of thought during this period. Chapter four explains the tragic cultural fate of Le. The passage of time and the transformation of the present situation not only make the natural life of the bereaved people wear down and fall down, but also make the humanistic style and character characterized by "music" as the symbol, and the character of the "bereaved people" is also in the inevitable loss. This is the tragedy of music, and the tragedy of the bereaved people, a dynasty and a form of culture.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：K248

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