【作者】 段立超；

【导师】 李炳海；

【作者基本信息】 东北师范大学 ， 中国古代文学， 2007， 博士

【摘要】 本文所要研究的“颂”，不是同以往一样的，立足于可见的文化成果：形诸典册、金石者；口耳传承者；甚或条畅于一家学派，一个大的显性文化传统等。例如把《诗经·三颂》作为核心的“颂诗”的诗歌史研究或相关的知识研究。本文的研究，将转变视点，以“人”为本位和起始点，从“人”开始重新对全部问题做出探讨和现象还原式的认识。本文要将“颂”作为一种“文类”，以上古华夏文明的演进为基本依据，在尊重已生成的“颂”类文学、文化的全部历史内容的基础上，综合反映“颂”在生成期的样态与流衍。以期还原“颂”在文学史中应有的“大文类”的本来面目；并通过论证，对“颂”蕴含的独特文学和文体特征、“颂”在华夏文明中独一无二的精神地位，做出新的理解、描述和说明。本论文共分为三大部分：1、引言。说明此研究的缘起、目的和主要方法。2、论文主体。共用七个部分，首先通过述评的方法反省并革新了原有的对“颂”的认识观念和研究方式；接着论述了“颂”字作为单纯词，在上古华夏文明史中的意涵；“颂”作体例的三级“体类”划分标准阐述——以历史生态发展为依据；在新的认识与界定下，“颂”类文本目前可见的，在先秦、两汉的创作情况、使用情况和体貌特征、精神品格；并讨论了“颂”的作者群与其文体形式、功能、创作指向、风格等的演变之间的关系；“颂”之体类特征的“常”、“变”和创作指向的多样化等；最后一部分，则论证了先秦、两汉“颂”类文学所涉及并表现出来的“向‘道’而生”的独特人文精神。3、结论。说明此题目研究的结论，及其在现代生活中所具有的启示性价值与意义。论文主体的七大部分主要论述了以下内容：第一部分：先秦、两汉“颂”的文本、体类特征研究情况述评及方法论反思。本部分以综述的方式，按时间顺序，介绍古往今来先秦两汉“颂”的创作、整理和研究情况，并提出自己对已有观点、方式的理解和反省。第二部分：“颂”作体例的三级“体类”划分标准阐述——以历史生态发展为依据。本部分主要是为全体研究奠定理论基础。不同于以往“着手即作文体归类”的研究方式，本文首先尝试阐释“颂”在“本体论”意义上的内涵指向：辨析“颂”在金甲文中的造字意义、在初期文献语境中的使用情况、从文字、词义发展史的角度梳理“颂”与“诵”、“容”、“讼”的相互关系，得出结论——“颂”最早造字的“字形结构”是一个人屈膝低头，并开口说话；“字的本义”是言者恭顺卑下地在对对象表达：其“词义”范畴的核心，是“人对其所认识的‘最高者’或‘终极’的衷心称美歌扬”。根据这种范畴内涵，重新认识和界定“颂”作为文字语言符号的任务，可以明确，“颂”在汉语中代指一种高远的人文精神表达，这种表达，涉及终极依据、终极价值和终极情怀。基于此，本文的涉猎范围将超出“五四”以来“纯文学”意义上的文体研究，而以“文化人类学”意义上的大文化视野，尊重“颂”的真实文化历史生长进程，将先秦两汉历史文献中符合“颂”之字源意蕴也即人文精神意蕴的全部文本都纳入认识与讨论的范围。由于这种新的定义与范围划分，本文将反思以《文心雕龙》为代表的“文体”认识与划分方式，反对将“颂”的文本类型简单地划成一种“文体”。而创制“三级分类法”：(1)颂类(2)颂体(3)颂属第三部分：先秦“颂”作的体性界定、体貌风格及人文情怀特征。本部分在对先秦(含秦代)“颂”作按时间顺序做出文献收集、描述的基础上，结合这些“颂”作产生的历史文化背景、创作观念、用途等，界定先秦“颂”的体性特征为“歌颂扬美式的终极表达”，文本中表现的价值判断依据在“最高者”，叙述的主要内容则是最高终极的人间实现。由于《诗经·三颂》于此种解释较易理解，论者将着重对《管子·国颂》、《楚辞·桔颂》与秦刻石做出探讨。并综合论述先秦“颂”，常谐韵，语句整齐，气格“端昂清朴”，透发出信笃诚悦的人文情怀的特点。并说明这些“颂”作为滥觞期文本的奠基功能。第四部分：先秦、两汉(重点在两汉)“颂”作观念与体类的个案分析：诗颂、赞颂、论颂、辞颂、赋颂、碑颂——兼及“颂”之体类特征的“常”、“变”和创作指向的多样化。“颂”的“三级体类研究”的分类：(1)具有比较典型文体特征，并以颂命名的颂，如诗颂(《诗·颂》、屈原《桔颂》、扬雄《赵充国颂》等)、论颂(如《管子·国颂》、董仲舒《春秋繁露·山川颂》、王褒《圣主得贤臣颂》等)、辞颂(崔驷《四巡颂》等)之类。(2)符合根本精神意蕴，并表现出相应现实用途，但不一定以颂命名的颂，如秦刻石(泰山刻石、之罘刻石、东观刻石等)、汉郊祀辞(《安世房中歌》、《西极天马歌》等)之类。(3)被“双重命名”，或不以颂命名，而实际是“颂”作的作品——如赋颂(《洞箫赋》等)、碑铭(班固《高祖泗水亭碑铭》)；或不以颂命名，而其中包含“颂”作的组合型文本(指由两种或以上文体组合而成的文本)——如碑颂(蔡邕《光武济阳宫碑》等)、传颂(刘向《烈女传》等)、文颂(司马相如《封禅文》)之类。(4)以“颂”命名，但精神指向与现实用途恰恰相反的颂，如马融《广成颂》、刘伶《酒德颂》等。其中，亦将论述相应时代、文化背景、作者、主题、理论的“颂”作观念；“赋、颂”、“碑、颂”的相互关系等。在此基础上论证，①“颂”体类之“常”是由先秦贯穿而下的体性与体貌状态，其中最具代表性的为“诗颂”。②其“变”之样态和形成的原因。③“汉颂”多样化的创作指向及其成因。第五部分：论述典型的汉“颂”的几种形态，对代表作品，做出个案分析：董仲舒《山川颂》、崔駰《四巡颂》、蔡邕的“颂”作。并论述了“颂”文类与其它相近文体类别的关系。第六部分：“颂”类作品作者群的独特性及由此带来的文体功能与文体形式的分离和文体风格的“叛用”。“颂”之作者群可划分为“国君”类直接统治者和“臣子”类统治辅佐。这些作者的身份、地域、所处时代、与权力核心的相互位置、文化素养、价值观念、创作目的等的不同，导致了由先秦到东汉末：“颂”的文体用途渐宽；文体形式与功能逐渐剥离；作者身份、颂美对象的地位逐渐下移；甚至出现对文体风格反其道而行之的“叛用”。第七部分：向“道”而生——先秦、两汉“颂”类文学精神以论证的方式，定义几个基础性的理论范畴：“文学”、“人文精神”、“道”等，在本研究中的独特概念内涵与外延。在此基础上辩证并结合全篇得出结论：上古“颂类”文学，是艺术起源时期的文艺样式。其核心的文字字形，可以追溯到古文明发源的文字创造阶段；其文献对口头创作的记载，始于神话古史时期；其内在的精神气质，则具有人类早期性灵状态所特有的宗教性、原型性特征。在汉民族文化形态生成的早期，“颂”是华夏祖先沟通人神、省视自身的最高依据；其表达，总是与终极意义和终极价值相关；其散发的人文精神，是中华文明最独特而根本的“向‘道’而生”。更多还原

【Abstract】 This article needs to study "Song", not like the former same, studying "Three Song Poetry" as the core in the poetry history research or the correlation knowledge research. But it must took "Song" as one kind "the article class" in the base of the antiquity China civilization evolution. This study respect "Song" as a kind of literature in the cultural complete historical content foundation, and want to reflect "Song’s" appearance and transformation in its development time. So, we returns to the original state of "Song", and explain its appearance among the big article class in the history of literature. And through our work, "Song’s" unique literature and the literary characteristic style, and "Song’s" the unique spiritual status in the China civilization, will have a new understanding, the description and the explanation.This paper divides into three parts: 1st, introduction. We explain the origin, the goal and the main method in this research. 2nd, main body. Altogether seven parts, first engaged in introspection through the commentary method and found original meaning to "Song"; Then elaborated the word ,"Song" ,in antiquity China history of civilization; what’s the position for "Song" in three levels "article class" in the historical ecology development; Under the new understanding and the limits, shown composition situation, service condition and appearance characteristic, spiritual moral character on the base of "Song" text at present in pre-Qin dynasty and double Han dynasty ; And discussed the relation between the author group and the literary style form, the function, the creation direction, the style and so on; shown "Song’s" style characteristic by "immovability" and "transformation" and the composition direction’s diversification and so on; Last part, then proved "Song" as a kind of literature to involve and to display the spirit, ’living to the Dao", that was a the unique humanities in the Pre-Qin dynasty, double Han dynasty. 3rd, conclusion. Explained the conclusion in this research, and it’s the value and the significance which has in the modern life.The paper mainly elaborated the content below:First part: study on "Song" text, style class characteristic and methodology reconsidering in the pre-Qin dynasty and double Han dynasty. This part summarizes the way on time by which "Song" were composed, reorganized and researched in the pre-Qin dynasty and double Han dynasty, and proposed on the viewpoint, the way understanding.Second part: "Song’s" three levels division standard for "the article class" on the basis of the historical ecology development. This part mainly is the base for all study. It is different to formerly research that began namely to make the literary style classification, this article first attempts the explanation for" Song" in the ontology meaning.We draws the conclusion from the discrimination among "Song" and "Song (诵)", "Rong (容) "Song (讼) " in the initial linguistic environment, that is , the most early meaning of the character "Song" on the basis of the glyph structure is a person who bows the head to lower, and opens the mouth to speak; The original meaning of character is the word expressed respectfully and submissively to some holy object; the word meaning is that the person praises the highest body or ultimate thing. According to this kind of category connotation, "Song" may be clearly understood. So, "Song" refers to one kind of the humanities spirit in Chinese culture. This kind of expression involves the ultimate basis, the ultimate value and the ultimate mood.Since based on this, this article will browse the scope to surpass the idea of "pure literature" since 4th May movement. Then, we respect the real growth history for "Song" in the significance of cultural vision on the basis of anthropology. We will discuss the real "Song" that are accord to the original meaning on the same time the humanities spirit meaning in pre-Qin dynasty and double Han dynasty. Because this kind of new definition and the scope divide, this article will reconsider the idea about style in "Wen Xin Diao Long(文心雕龙)",and oppose to take "Song" as one kind "the literary style". However, we have a new category, that is, three levels of classification": (1) Song class (2) Song style (3) Song category.Third part: "Song’s" essence, appearance and humanities spirit in pre-Qin dynasty. This part try to show the "Song’s" characteristic on the basis of the literature material collection in pre-Qin dynasty (contains the Qin dynasty). Then, the characteristics of "Song" are "praising ultimate thing", the value judgment based on "the highest body", and the highest ultimate thing’s realization in the world. Because of "three Song Poetry "easier to understand, we will emphatically talk about "Song for country in Guan Zi" , "Song for tangerine in Chu Ci" , and "Song" carved in stone in Qin dynasty. And at last there are some conclusion for "Song" in pre-Qin dynasty, that is , tonality accordance, neat sentence, solemnity style ,the clear and plain moral character that sends out the sincere and pleased humanities spirit. And we will explain these "Song’s" fundamental function as the source time text.Fourth part: The study for "Song’s" idea and classification in pre-Qin dynasty and double Han dynasty (especial for double Han dynasty): The poem Song, the praising Song, the discussion Song, the Ci Song, the Fu Song, the tablet Song. Then, there are some discussion for "Song’s" "immovability" and "transformation" and composition diversification."Song’s" classification in "three levels of bodies ": (1) has the quite typical literary style characteristic, and named Song, like the poem Song ("Three Song Poetry", Qu Yuan "Song for tangerine ", "Song for Zhao Chongguo " and so on), discussion Song (for example "Pipe Country To Song", Dong Zhongshu "Song for Mountains and rivers in Chun Qiu Fan Lu(春秋繁露)", Wang Bao "Song for enlightened ruler’s Virtuous official " and so on), the Ci Song (Cui Yin, " Song for emperor’s four patrol " and so on) and so on. (2) conforms to the basic spirit, and displays the corresponding realistic use, but not necessarily named Song, like tablet in Qin dynasty (Tai mountain tablet, carved stone named Zhi Fu, carved stone in east temple and so on), the words of songs for ancestor and God in Han dynasty ("An Shi fang Songs", "West holy horse songs") and so on. (3) "the dual naming", or does not named Song, but actually is, like "Fu Song" ("Song for Dong Xiao" and so on), "Bei Ming" (Ban Gu "Bei Ming for Great-great grandfather in Si River Pavilion "); Or does not named but in which contains the combination text (to refer to the text which have two kind or above literary style) , like the tablet Song (Cai Yong "Guan Wu emperor’s Tablet in Ji Yang Palace " and so on), the Song for biography (Liu Xiang " Integrity woman’s Biography" and so on), the article Song (Sima Xiangru like "article for Ancient rite of making sacrifices to the God ") and so on. (4) "Song" named, but the spiritual direction and realistic use are just opposite to praising spirit, like Ma Rong "Guang Cheng Song", Liu Ling "Liquor Song" and so on. Among them, we will elaborate the corresponding era, the cultural context, the author, the subject, the theory for "Song"; and some relation among Song", "the tablet, Fu" and so on.Then, there is some conclusion (1) "Song’s" immovability, that is, the character and the appearance condition is passes through from pre-Qin dynasty. Most representatively example are "the poem Song". (2) Transformation’s the reason. (3) " Song’s" diverse composition direction and its the origin reason in Han dynasty.Fifth part: The elaboration for typical Han "Song" that have several kinds of shapes. Such as, Dong Zhongshu ,"Song for mountains and rivers ", Cui Yin, " Song for emperor’s four patrol", Cai Yong, "Song for Hu Guang and Huang Qiong". And we elaborate relations between "Song" and other close literary styles.Sixth part: "Song’s" author group had distinctive quality. Then, there is the separation between the literary style function and the literary style form, so is the literary style which brings "reverse uses". "Song’s" author group can be divided into the direct ruler and "the dominant assistant official". These authors’ difference in statuses, the region, the era, the mutual position to authority core, the cultural accomplishment, the value idea, the composition goal and so on, has caused style change from the pre-Qin dynasty to the end of the Eastern Han Dynasty: "Song’s" literary style gradually extended; The literary style form and the function gradually striped; The status of author and the praised body gradually gone down; Even there were "reverse uses" in the literary style.Seventh part: Living to the Dao is the literature spirit in pre-Qin dynasty to double Han dynasty. We define several foundational theories categories: "Literature", "humanities spirit", "Dao" and so on. Then, we draw the conclusion on the basis of materials above:The ancient "Song category" was the literary style in artistic origin time. Its core writing glyph may trace the writing creation stage which the ancient civilization originates; "Song’s" document that recorded oral legend, began in ancient myth history time. "Song’s" mental spirit has the characteristic, such as prototype and unique religion, in early human era. In the early time of Han culture, "Song" is highest basis for the Chinese ancestor linking up the God, and for the introspection for themselves; Its expression is always related with the ultimate significance and the ultimate value; Its humanities spirit is the Chinese civilization’s most unique and basic spirit: "living to the Dao".更多还原