在歷史上，南宋與金處於對峙狀態，兩方沒有文學與文化的交流，就詩歌而言，在當時是兩個獨立的詩壇，各自發展；但是在元、明以後的詩歌論述中，它們逐漸發生聯繫，最終被置於同一詩歌傳統中。究竟從分到合，是怎麼的一個過程？過程背後蘊含著甚麼文化及詩學觀念？ / 陸游（1125-1210）、元好問（1190-1257）是繼蘇軾、黃庭堅以後，最著名的古典詩人，分別代表南宋、金源詩學。他們的詩論與詩作都一直是學界關注的議題。由於他們分屬南宋、金源，兩方詩學互不關涉，近世學者遂視他們為彼此無關的詩人。無論是文學通史還是斷代文學史，都是南北各自論述，陸、元絶無關聯。 / 但是，筆者經研究發現，自元代以來，南宋、金詩便被關聯起來，不斷做對比與評價，而衡量標準實既牽涉到正統朔閏的政治問題，也涉及到詩學源流的審美問題。元初文人關注文化承傳，從時代政治判斷金詩優於南宋；明代復古派關注詩歌取徑，以兩者分屬中唐、晚唐，一概貶斥；而清代主變者關注詩學傳統，他們雖承認南宋、金詩並非正統，卻認同兩者值得取逕，甚至將兩者從中、晚唐傳統抽離，視之為杜詩傳統的發展。南宋、金詩地位提高之餘，更由兩個原來獨立的傳統，統合在同一脈絡之下。 / 元明以來，南宋、金詩的比較是詩歌史敘述重要的一環。歷代的評價環環相扣，側重點卻各有不同。這些側重點的差異正反映了論者論述南宋、金詩時用以參照系統的不同。從中，我們可看到陸游、元好問成為後世典範的原因和過程：他們面對唐、宋詩完全成熟的階段，卻能出入唐、宋，自成一家；儘管詩風、詩論有差異，二人均可上溯不同源流，故對宗唐還是主宋者而言，都是重要的師法對象。筆者期望通過本研究，能夠釐清陸游、元好問，乃至南宋、金詩對後來詩學發展的影響。 / Relations between the Southern Song and Jin were tense and hostile, hense there were very limited communications in literature and culture. At that time, the two schools of poetry developed independently. However, from the Yuan Dynasty onwards, scholars often made comparisons with the two schools, and gradually treated them as one poetic tradition. The thesis explores this emerging progess and the poetic concepts behind. / Lu You (1125-1210) and Yuen Haowen (1190-1257) are the most famous poets of classical Chinese literature after Su Xi and Huang Tingjian. They represent the Southern Song and Jin poetry respectively. Their poetic theories and works are always discussed, but not compared. It is because scholars of the recent generations recognized Southern Song and Jing as two independent schools of poetry. Therefore, in the Chinese literature history, no matter it is in general or by stages, the coexistence of the two poets are often neglected. / The author proposes since the Yuan Dynasty, the relationship between the schools of the Southern Song and Jin poetry started to gain notice. The works were compared as a way of review and the standards were mainly about legitimacy and the poetic origins. The Yuan scholars concerned heritage aspect and approved that the Jin poetry was better than the Southern Song. The Ming scholars concerned the way to assimilate the Tang poetry. They regarded Southern Song and Jing poetry as the mid and late Tang poetry, whereas Qing Scholars recognized them as a development of the school of Tu Fu poetry. The values of the Southern Song and Jin poetry raised and emerged into one school. / In he Yuan Ming and Qing Dynasties, the comparison of the Southern Song and Jin poetry is one of the most important issues in Chinese literary history. Evaluations were done from different aspects and with different purposes and they all reflect different points of views of the scholars. Through the comparison, we can have a better understanding of the reasons and progress of how Lu You and Yuan Haowen became the paragons of the later generations and how they made themselves stand out from Tang and Song poetry and became the important studying models of classical poetry. By this research, the author wishes to give a clear image of the influence of the Chinese classical poetry development given by Lu You, Yuan Haowen and also the Song and Jin poetry. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 蘇穎添. / Thesis submitted: December 2012. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 208-221) / Abstracts in Chinese and English. / Su Yingtian. / 論文提要 --- p.i / Abstract of Thesis --- p.ii / 目錄 --- p.iv / Chapter 緒論 --- 現今詩學研究對南宋、金源分合未有足夠重視 --- p.2 / Chapter 一、 --- 南宋、金詩的高下是歷代均關注的詩學命題 --- p.6 / Chapter 二、 --- 南宋、金詩歌史敘述圍繞陸游、元好問展開 --- p.13 / Chapter 三、 --- 南宋、金詩歌史敘述圍繞陸游、元好問展開 --- p.13 / Chapter 第一章 --- 陸游、元好問可比性探析 --- p.17 / Chapter 一、 --- 俱有針砭詩壇流弊的主張 --- p.18 / Chapter 二、 --- 轉益多師，兼宗唐、宋 --- p.24 / Chapter 三、 --- 詩論、詩風同中有異，並論是詩歌史敘述的結果 --- p.38 / Chapter 第二章 --- 南北爭衡：南宋、金詩在元代的文化正統之爭 --- p.49 / Chapter 一、 --- 陸游、元好問分別代表東南、中原詩學，實出於文化認同 --- p.51 / Chapter 二、 --- 南北分合引發宋、金詩之爭 --- p.59 / Chapter 三、 --- 南宋、金源詩學衰落牽涉南北文化消長 --- p.66 / Chapter 四、 --- 後人視元好問為元代詩學先導 --- p.77 / Chapter 第三章 --- 偏離盛唐：宋、金詩在明代的評價問題 --- p.80 / Chapter 一、 --- 元代文化在明初得到承認，南宋、金源詩受排斥 --- p.81 / Chapter 二、 --- 在明代復古派興起前的宋、元詩之爭 --- p.85 / Chapter 三、 --- 陸游、元好問被派入中唐、晚唐的傳統 --- p.91 / Chapter 四、 --- 宋、元詩風從相爭到融合 --- p.109 / Chapter 第四章 --- 折衷唐宋：宋、金詩在清代合流的過程 --- p. 116 / Chapter 一、 --- 清人反思宋、元詩之失 --- p.116 / Chapter 二、 --- 陸游從南宋江西體中被抽離 --- p.122 / Chapter 三、 --- 杜詩傳統將陸游、元好問結合為同一發展脈絡 --- p.131 / Chapter 第五章 --- 「天放奇葩角兩雄」：清中葉翁方綱的陸游、元好問比較 --- p.142 / Chapter 一、 --- 突破「詩到蘇、黃盡」的困境 --- p.143 / Chapter 二、 --- 以元好問七古在陸游之上，帶出二人詩學淵源的分歧 --- p.146 / Chapter 三、 --- 强調陸游「自行於千古」，否定其與傳統的淵源 --- p.155 / Chapter 四、 --- 通過元優於陸，反思清初詩學 --- p.161 / Chapter 第六章 --- 以金接宋：翁方綱對「蘇學盛於北」說的强調 --- p.167 / Chapter 一、 --- 古今學者質疑「蘇學盛於北」說 --- p.169 / Chapter 二、 --- 趙秉文、元好問反思蘇學 --- p.180 / Chapter 三、 --- 翁方綱為何强調「蘇學盛於北」 --- p.202 / 結語 --- p.205 / 參考書目 --- p.208

Dans la Chine du IIIè siècle, les mutations politiques et intellectuelles considérables survenues après l’effondrement des Han favorisent l’éveil d’une conscience inédite de l’individu, ainsi que l’émergence de nouvelles tendances philosophiques (le néo-taoïsme de l’Étude du Mystère) et l’apparition d’une activité artistique en rupture avec la tradition qui s’est imposée durant quatre siècles d’hégémonie confucéenne. La musique, qui occupe une place d’élection dans la vie des lettrés, voit évoluer le statut et la pratique auxquels elle était jusqu’alors confinée, l’outil moralisateur au service de la concorde sociale s’affirmant désormais comme une distraction libre et privée, affranchie de ses finalités politiques et civilisatrices. Notre travail prend pour objet les conceptions de la musique qui ont vu le jour dans ce contexte de l’avènement esthétique et d’une valorisation sans précédent des émotions individuelles. En nous concentrant plus particulièrement sur Ruan Ji 阮籍 (210-263) et Ji Kang 嵇康 (223-262), figures de proue de la pléiade des Sept Sages de la Forêt de Bambous et éminents poètes, philosophes et musiciens, nous avons cherché à étudier la réflexion esthétique qui s’élabore dans leurs écrits autour des questions de l’origine et la nature de la musique, de ses fonctions morales et sociales, de son utilisation politique ou macrobiotique, de ses vertus éthiques ou diététiques, ou encore de son lien aux émotions. L’analyse textuelle est complétée par celle de pratiques ou de gestes musicaux : le sifflement chez Ruan Ji, la cithare chez Ji Kang, qui donnent corps aux discours et illustrent leur mise en œuvre concrète dans la vie de ces auteurs. De sorte que l’esthétique ne se définit plus seulement comme un discours, mais aussi comme un ethos, et que l’effort d’affranchissement de la musique est contemporain d’une d’émancipation des sujets mêmes de l’expérience esthétique. / In third-century China, the huge political and intellectual mutations occurring after the collapse of the Han dynasty result in the awakening of a new self-consciousness of man and the emergence of new philosophical trends (the so called Dark Learning), or also an artistic activity breaking off with four centuries of Confucian orthodoxy. Music, which occupies a privileged position in the life of literati, evolves as well, as far as its traditional status and practice are both concerned. No more considered a tool of moralization for the sake of civilized order or social harmony, it becomes a private and free distraction, emancipated from political or any other pragmatic purpose. The conceptions of music appearing in this context of nascent aesthetics provide the subject matter of our research. Focusing on Ruan Ji 阮籍 (210-263) and Ji Kang 嵇康 (223-262), two leading figures of the well-known literati group “the Seven Sages of the bamboo grove” who were also famous poets, thinkers and musicians, we attempt to examine their aesthetic thought throughout their main writings on music, concerning issues such as the origins and nature of music, its moral or social functions, its political or macrobiotic use, its ethical or dietetic virtues, and also its relation to man’s emotions. The textual analysis is completed by the study of musical practices or gestures (Ruan Ji’s whistling, Ji Kang’s playing the zither), that illustrate the effective application of their ideas in concrete life. Therefore, aesthetics does not only consist in a mere discourse, but becomes a kind of ethos, in which the emancipation of music is inseparable from that of the individual himself, through his aesthetic experience.

Considéré généralement comme objet de l’art, sujet de la littérature et catégorie de l’esthétique chinoise, shanshui, les « montagnes-eaux », est censé relever d’un sentiment et d’une conception de la nature relativement différente de celle de l’Occident. Or la construction moderne de shanshui au prisme de la nature n’intègre la multiple pratique paysagère historiquement fondée dans la tradition lettrée, inextricablement liée à l’invention des montagnes-eaux : l’érémitisme, la recherche d’immortalité, l’excursion, la réunion littéraire lettrée, la création poétique, picturale et du jardin. Centrée sur l’histoire tri-séculaire après la chute de la Dynastie Han, en exposant les conjonctures particulières, analysant la notion ‘ziran’ dans l’étude du Mystère, rassemblant et traduisant les écrits et poèmes thématiques qui témoignent des mouvements et tendances extra-mondains dans les milieux lettrés sous les Wei-Jin (220-420), cette thèse vise à montrer que shanshui, plutôt que d’être constitué par la dualité nature/art, est inventé comme un paradigme confrontant, dans une bipolarisation de la réalité lettrée à cette époque, l’espace confucéen et l’espace taoïste, le service et la retraite, les affaires mondaines et la recherche de l’idéal par-delà la société. Autour de shanshui se cristallisent les idées-valeurs comme l’authenticité, la dévotion, la vertu, la liberté, le naturalisme, le mysticisme, la créativité et la transcendance immanente, en cela, nous supposons la co-naissance des montagnes-eaux et d’un idéal-type de l’humanisme classique chinois. / Generally regarded as the object of art, the subject of literature and Chinese aesthetic category, Shanshui (mountains-waters) is believed to be relevant to aesthetical feelings as well as the philosophical concept of nature that is different from that of the West. However, the modern construction of Shanshui through the prism of nature does not integrate the multiple landscape practices historically founded in the gentry's tradition, which had contributed to the invention of mountains-waters: eremitism, immortality seeking, excursion, gathering of literary circles, and the creation of poetry, paintings and gardens. Focusing on the history of Wei-Jin (220-420) after the fall of the Han dynasty, exposing the particular contexts, analyzing the notion of 'Ziran' in the Xuanxue school, gathering and translating the writings and thematic poems showing the extra-mundane movements and tendencies in literate milieus under this time, this thesis aims to show that Shanshui, rather than being constituted by the duality of nature and art, has been invented as a cultural paradigm to confront, in a bipolarization of the reality of ruling gentry class, the Confucian space and the Taoist space, service and disengagement, mundane concerns and pursuit of the Ideal beyond society. Around Shanshui the ideas and values such as authenticity, deep affection, virtue, liberty, naturalism, mysticism, creativity and immanent transcendence are crystallized, in this way, we may assume the co-birth of mountains-waters and an ideal type of Chinese classical humanism. / 山水研究以往側重于詩歌，繪畫與哲學分析，并普遍將山水視為自然再現，自然情感與某種不同於西方自然觀的審美表達。然而，“相對不同”的判定卻是建立在自然／文化兩分的現代二元范式的“普世應用”上的。因為僅僅強調山水源於“發現自然”並不能整合與山水緊密相關且貫穿於士傳統中的文化實踐：如隱逸，遊仙，遊覽，雅集，以及對世外理想之境的不懈書寫，描畫與營造。本論文考察了魏晉時期(220-420)的社會，政治與文化背景：名教自然的對立，隱逸遊仙的結合，魏晉風度，衣冠南渡，僑立，宗教興起，道釋義理在文化士族內部經由玄學促生的思想轉向等；通過分析魏晉玄學中的自然概念，整理翻譯相關的歷史文本與詩歌，試圖說明，與其說山水是自然／藝術的二元構建，毋寧說山水是士階層在仕與隱，經世與玄遠，世表與塵外的現實兩極化中所創建的一種文化範式。圍繞山水，凝聚了一系列具有重要文化特徵的理念与價值——保真，養身，自足，逍遙，自然主義，暢神玄覽，內在超越與審美理想。這意味著與山水共生的是一種中國古典人文主義的理想型。

本文探討1940年代地方文學書寫，藉由台灣與朝鮮對照呈現當時地方書寫產生的特殊背景：不同立場對地方書寫的期待、作家1940年代書寫時如何表現。藉上述的角度，試圖呈現殖民地地方書寫的意義。 殖民地文學中，捕捉在地特色、獨有風物的題材向來備受關注。1940年代更受日本帝國面臨發展困境，走向動員戰爭之路策略影響。使得文藝因應總力戰策動各層面投入戰爭，而背負增進帝國認同的任務。「新體制」與「大政翼贊會」的推行與成立，顯示當時精神統制擴大、也反映東亞協同、對抗西方文明的框架，將殖民地作為帝國外緣／前線的策略。地方特色的突顯與應用即受到這些政策與思維籠罩。 此時，殖民地文藝創作環境面對權力集中一元化，不僅創作語言受限、言論出版高壓管制；官方更積極介入文藝團體、舉辦獎項，加強國策宣傳。文藝創作空間、資源侷限下，新體制與大政翼贊會為殖民地文化界帶來發揮的機會。在地方書寫蘊含國民認同基礎、傳統根源等元素，既呼應政策對於國民文化，殖民地文化人亦可爭取活動機會。這一類書寫，最初以地方色、鄉土色展現地方特殊性的書寫為普遍認同，後隨戰爭國策要求提高，強調服膺日本精神、支援戰爭的內容。 殖民地這一波的地方書寫當中，題材、作品氛圍、敘事型態皆與以往略有不同。題材上，應和國策創作增加、探索傳統價值與批判西方、塑造道德模範反省文化的進程。作品氛圍與敘事型態上，揮去不見希望的氛圍，轉為明朗、健康、動人，更以人物或藉由回歸自然、致力生產、甚至參與戰爭找到生命的意義與希望。 本文即選取兩組作家作品為代表。呂赫若、俞鎮午運用風俗習慣、傳統禮節，表現殖民地特殊風貌，並以倫理、全體性角度肯定傳統價值。張文環、金史良以鄉土為基底，在堅毅樸實的生活中獲得力量。他們在地方書寫框架中，迴避國策密切相關的題材，書寫熟悉事物表現地方特殊性，運用風俗習慣、神話傳說、禮儀、信仰等表現殖民地的人文風景，並一改先前啟蒙的批判角度。這些書寫策略具有保存殖民地文化甚而是民族精神的可能，卻也在時空限制下與戰爭動員的政策意識有所呼應。在兩地的同中有異的書寫成果裡，也見證地方書寫的政治策略、多種意涵，在殖民地的空間裡延伸出更多迂迴與曖昧。 / This article tries to analyze local literature in Taiwan and Chosen, Japan’s colonies in 1940’s. First of all, by analyzing the form of mobilization under the Total War System in 1940, it shows the influence on Japan’s military operation and manipulation. On one hand, the authority made use of centralized management on politics; on the other hand, ideas such as Overcoming Modernity and East Asia Alliance Leader were offered to let people acknowledge the war and sacrifice for it. Through these concepts, the authority reached to the notion which based on the native for people to possess. Secondly, after the foundation of Konoe shintaisei(新體制) and Taisei Yokusankai(大政翼贊會), literature was asked to proclaim the war more strategically. At that time, under the limitation of the amount of paper, local literature in colonies was requested to write in Japanese and scrutinized by the government. In addition, the authority even established literature and art organizations and set up literary prizes to advertise the war. In this way, local literature not only answered the policy but also gave the chance of displaying colonial features to those authors. In the beginning, both the authority and most of the writers accepted the method of using local color to exhibit the colony, however, this method was applied to announce the Japanese spirit and support the war little by little. Under this circumstance, colonies changed the way of literary expression. There were more subjects which conformed the national policy, explored the value of tradition, and criticized the Western to reflect the advancement of culture and then create moral standards. It was the atmosphere of the literature that turned to be bright and cheerful. Moreover, narrative patterns were performed on the characters, such as returning to nature, devoting to production, finding meanings and hopes by participating in the war. This article represents local literature in colonies in 1940 by taking examples of two groups of writers. One of the groups ,which is represented by Lü He-ruo (呂赫若) and You Jin-Oh (유진오), utilized traditional customs and manners as distinguishing features in colony. Furthermore, from the viewpoint of ethic and totalitarianism, they tried to approve the value of tradition. Yet, on the other hand, Chang wen-Huan(張文環) and Kim Saryan(김사량) gained power from difficulty and arduousness in life through the background of rural places. Both of them avoided responding to the national policy in this kind of writing pattern. As previously stated, these writers portrayed what they were familiar with to show the feature in local places. Ranging from customs, practices, folklore, manners to religions were what the writers employed to illustrate the cultural characteristics in colonies. Besides, the viewpoint changed from the criticism of enlightenment. These kinds of writing devices with the hope of preserving local culture and even national integrity. However, it was the restriction on politics and the times made literary works echo with the authority’s ideology at the same time. In the view of Compare Taiwan with Chosen, difference in literary works were testified to show the various meanings from colonial strategies in politics and writers characters in the meantime.