在近代中國大變局中，詩歌文化傳統如何面對「現代世界」，是一個值得注意的問題。本文選擇的研究對象「三元」（開元、元和、元祐）、「三關」（元嘉、元和、元祐）、「四元」（元嘉、開元、元和、元祐）是陳衍 (1856-1937)、沈曾植（1850-1922）和馬一浮（1883-1967）對詩歌傳統的建構，它們既共同反映出舊體詩人維繫傳統的努力，又分別帶有三人對各自時代的反應。本文共六章，以中間四章的論述結構為核心。第二、三、四章分別就「三元」、「三關」和「四元」的形成過程和詩學意涵做出詳盡考察。本文認為「三元」是陳衍1899年以後逐漸形成的詩史體系，在1912年12月分兩個系統建立。「三元」包含了對近代不同詩歌風格的歷史追溯，以杜甫、韓愈、白居易、蘇軾為詩史典範。「三元」最重要的唐宋詩法傳承，陳衍的關注點在「白居易、梅堯臣、蘇軾、陸游、楊萬里」一脈，而他的詩歌理想是「能」與「稱」或者「至」。沈曾植的「三關」說是他1918年對自己1899年「三元」唐宋詩史論的顛覆。「三關」說是代降詩史觀下的復古學詩方法，強調由「元祐」、「元和」上溯「元嘉」詩歌的「雅」、「玄理」。其中「元祐」重在黃庭堅和江西詩派，「元和」重在韓愈和韓門詩人，「元嘉」則以陶潛和謝靈運、顏延之共同作為典範。相比陳衍的「三元」，「三關」擴大到對文化價值的整體關懷，這與沈氏的人生經歷息息相關。馬一浮的「四元」說在「三關」的基礎上增加了「開元」，同時融入了他早年以「仁」為核心的詩教觀，1943年提出「四元」並完成詩史體系建構。該說以他對詩歌「脫俗」、「神悟」的追求為基礎，以「史」、「玄」為內容，以「仁」和「理境」為理想，兼重詩歌社會功能和審美價值，反映出他超越以杜甫為代表的唐宋詩人、挑戰近代宗宋詩學的理論個性。本文第五章結合時代語境比較分析了三種詩史觀同異的成因。三者相同的「元和」、「元祐」源於繼承晚清宋詩傳統以對抗現代衝擊的共性價值。三者的差異表現在具體的詩史典範選擇和「元嘉」、「開元」等詩史階段的取捨排列上，這又分別決定於他們的時代文化心理和自我定位。「三元」重視個性和強調新變，反映出陳衍融入時代以保留傳統的新型「學人」定位。沈曾植「三關」強調「見道」和上溯「元嘉」，反映出他對堅守文化傳統的「士人」理想。馬一浮 「四元」對「仁」和「理境」的追求，表現出他以「復性」重建文化傳統並以「獨立人格」實現傳統文化永恆價值的人生理想。本文選取了近代中國最成體系的三種詩史觀為研究對象，填補了相關研究的空白，在揭示三說歷史語境和文化氛圍的同時，也希望能為近代中國詩學研究做出貢獻。= In the century since 1840, China had experienced dramatic change in society, politics and culture. But due to the focus on modern tendencies in literature (especially vernacular literature) in the twentieth century, traditional poetics has long been neglected. This thesis takes Chen Yan(1856-1937), Shen Zengzhi (1850-1922), Ma Yifu (1883-1967) and their San Yuan (Kai Yuan (713-741), Yuan He (806-820) and Yuan You (1086-1094)), San Guan (Yuan Jia (424-453), Yuan He (806-820) and Yuan You (1086-1094)) and Si Yuan (Yuan Jia (424-453), Kai Yuan (713-741), Yuan He (806-820) and Yuan You (1086-1094)) theories as major research foci to discuss one question: how did poetic tradition respond to the modern world? Apart from the introduction and the conclusion, this thesis includes four chapters. From the second chapter to the fourth, the forming process and poetic concerns of Chen's, Shen's and Ma's perspectives are investigated in turn. The fifth chapter compares the poetic values and historical views of their theories, and analyzes the identities and differences by integrating with their cultural psychologies and self-identifications. As the most elaborated and systematic theories of poetic criticism in the last period of the poetic tradition, the three perspectives are linked by the similar form of historical perspectives, though were all developed under personal considerations. By explicating the underlying historical and cultural concerns of perspectives on poetic history in modern China, this thesis not only achieved breakthrough in related research area, but also provided references to contemporary studies of classical Chinese poetics and poetic history.
| Identifer | oai:union.ndltd.org:hkbu.edu.hk/oai:repository.hkbu.edu.hk:etd_oa-1428 |
| Date | 17 August 2017 |
| Creators | 李泊汀, |
| Publisher | HKBU Institutional Repository |
| Source Sets | Hong Kong Baptist University |
| Language | Chinese |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | Open Access Theses and Dissertations |
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