本文選題：燕巖體 + 實(shí)學(xué)��； 參考：《天津師范大學(xué)》2012年碩士論文

【摘要】：“燕巖體”產(chǎn)生于18世紀(jì)末的朝鮮半島,它是由樸趾源在其燕行文學(xué)《熱河日記》中開創(chuàng)的一種以散文為主,集散文、小說(shuō)、詩(shī)歌于一體的文體。這種文體自由、靈活,具有反傳統(tǒng)、反封建色彩。本文結(jié)合了眾多文獻(xiàn)、研究成果對(duì)“燕巖體”的產(chǎn)生淵源、發(fā)展過程、文體特點(diǎn)、審美特點(diǎn)作了系統(tǒng)的研究,試圖對(duì)這種文體達(dá)到更清晰、理性的認(rèn)識(shí)。 全文分為四章。第一章就“燕巖體”的產(chǎn)生背景作了詳細(xì)論述�！把鄮r體”的產(chǎn)生可以說(shuō)是當(dāng)時(shí)朝鮮半島多種社會(huì)文化因素綜合作用的結(jié)果。具體來(lái)講,推動(dòng)其產(chǎn)生的因素有：當(dāng)時(shí)的國(guó)內(nèi)的實(shí)學(xué)思想；中國(guó)明清小說(shuō)的輸入；西學(xué)的傳播。而學(xué)術(shù)界的性理學(xué)；傳統(tǒng)的封建禮制；李朝政府的文化鎮(zhèn)壓則在很大程度上制約并阻礙了“燕巖體”的發(fā)展。 在論文的第二章,筆者梳理了“燕巖體”的發(fā)展過程。這個(gè)過程經(jīng)歷了四個(gè)階段：樸趾源的《熱河日記》是其濫觴期；以樸齊家,李德懋為代表的白塔文人群體的時(shí)宜文創(chuàng)作是燕巖體的發(fā)展期；以李相橫、趙秀三為代表的小說(shuō)創(chuàng)作可以說(shuō)是燕巖體發(fā)展的高潮階段；燕巖體風(fēng)靡引起了正統(tǒng)文學(xué)與封建統(tǒng)治集團(tuán)的不滿,最終正祖發(fā)動(dòng)了“文體反正”運(yùn)動(dòng),燕巖體因此衰落下去。 關(guān)于“燕巖體”的文體特點(diǎn),筆者在第三章從內(nèi)容和形式兩方面作了細(xì)致的論述。從內(nèi)容上講,“燕巖體”具有著求實(shí)性追求,平民化及民族化傾向。從形式上講,“燕巖體”以散文創(chuàng)作為主,并綜合運(yùn)用小說(shuō)、詩(shī)歌等多種文體,使之呈現(xiàn)出“雜體文”特色；語(yǔ)言上靈活、幽默,具有很強(qiáng)的時(shí)代性和可讀性。 在論文的第四章,筆者對(duì)“燕巖體”所呈現(xiàn)出的審美特點(diǎn)進(jìn)行了總結(jié)和概括。與傳統(tǒng)的古典漢文學(xué)相比,“燕巖體”在美學(xué)風(fēng)格上具有了一定的現(xiàn)代意義。從審美形態(tài)上來(lái)講,“燕巖體”有著很強(qiáng)的“散體性”追求。這種“散體性”追求包括兩個(gè)方面：敘事性突出,抒情性淡化；主體性突出,載道性淡化。從審美功能上講,“燕巖體”打破了傳統(tǒng)漢文學(xué)的自上而下的文化整合的審美功能,彰顯了形而下的具有顛覆色彩的審美功能。就此而言,我們可以說(shuō)“燕巖體”在一定程度上開啟了朝鮮半島文化現(xiàn)代性的先聲。
[Abstract]:Yan Yan Rock came into being in the Korean Peninsula at the end of the 18th century. It is a prose, novel and poetry style created by Park Yuanyuan in his Yan Xing Literature, Jehol Diary. This style is free, flexible, anti-traditional and anti-feudal. In this paper, the origin, development process, stylistic features and aesthetic characteristics of Yan rock mass are systematically studied in order to achieve a clearer and more rational understanding of this style. The full text is divided into four chapters. In the first chapter, the background of Yan rock mass is discussed in detail. The formation of Yan rock mass can be said to be the result of a variety of social and cultural factors on the Korean Peninsula at that time. Concretely speaking, the factors that promote its emergence are: the thought of practical study at that time; the input of Chinese novels in Ming and Qing dynasties; and the dissemination of western learning. However, the academic theory of sex, the traditional feudal ritual system and the cultural repression of the Li Dynasty government restricted and hindered the development of Yan rock mass to a great extent. In the second chapter, the author combs the development process of Yan rock mass. This process went through four stages: Park Yuanyuan's Jehol Diary was its origin; the timely literary creation of the Bai Ta literati group, represented by Park Qijia and Li Demao, was the development period of the Yan rock mass; and Li Xiangheng was the period of development of the Yan rock mass. The novel creation represented by Zhao Xiusan can be said to be the climax stage of Yan rock mass development; the popularity of Yan rock mass aroused the dissatisfaction of orthodox literature and feudal ruling group, and finally the founder launched the "style anyway" movement, which led to the decline of Yan rock mass. In the third chapter, the author makes a detailed discussion on the stylistic features of Yan rock mass from two aspects: content and form. In terms of content, Yan rock mass has the tendency of seeking reality, popularizing and nationalizing. Formally, Yan Yan Yan In the fourth chapter, the author summarizes and generalizes the aesthetic characteristics of Yan rock mass. Compared with the traditional classical Chinese literature, Yan Yan Yan in aesthetic style has a certain modern significance. In terms of aesthetic form, Yan rock mass has a strong pursuit of "scattered nature". The pursuit of "bulk" includes two aspects: prominent narrative, lyric desalination, prominent subjectivity and desalination of Tao. In terms of aesthetic function, Yan Yan Rock breaks the aesthetic function of cultural integration from top to bottom in traditional Chinese literature, and demonstrates the aesthetic function with subversive color. In this regard, we can say that Yan rock mass to some extent opened the cultural modernity of the Korean Peninsula.
【學(xué)位授予單位】：天津師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I312.06

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本文編號(hào)：1925459