【作者】 陈小亮；

【导师】 张节末；

【作者基本信息】 浙江大学 ， 文艺学， 2009， 博士

【摘要】 美国汉学家宇文所安的唐代诗歌史与诗学研究,以中唐为界,将唐代诗歌史划分为初盛唐与中晚唐两个阶段。盛唐诗最为典型地代表了中国诗歌的非虚构传统:诗歌是对真实世界的真实经验的记录,是不与日常生活相分离的艺术。初盛唐诗歌的演进正是诗歌的非虚构化或者说情境化历程。中唐才出现与日常生活相分离的西方意义上的艺术,诗歌领域实现自足并出现职业诗人群体。诗歌不再是对经验的透明显现,而成为一项可制作的艺术。为这一经验的兴感向创作的诗学发展走向提供重要论据的诗思方式“类”,亦经由中国传统的“类型呼应”向西方意义上类比的意志行为转变。如果说初盛唐诗歌研究,宇文所安采取的策略更多是中西诗学非虚构/虚构的对立与互补,其中晚唐诗歌研究则更多寻求中西诗学的对应。宇文所安唐代诗歌史与诗学研究存在的主要问题表现为:一是方法论矛盾。从《初唐诗》、《盛唐诗》以新批评内部文学史观对时代风格、标准和惯例的研究及结构主义方法的应用,到《中国“中世纪”的终结:中唐文学文化论集》引入“中世纪”终结的比较视野和现代性视域,以及《晚唐诗》对同时代诗歌语境和手抄本文化研究视角的着重与强调,宇文所安在方法论上的不断求新难免有学术立场不坚定之嫌和可能存在的前后思想矛盾。二是隐蔽的西学立场可能带来的文化误读和欧洲中心主义倾向。宇文所安唐代诗歌史与诗学研究对“类”的儒家道德主义取向和偏颇,对庄、玄、禅非主流文化对诗歌审美经验影响的边缘化或忽略,加之其诗歌解读取用的西方阐释技巧对中国传统诗歌的时有隔膜,其从中西诗学比较语境审理出的唐代诗歌史与诗学从经验的兴感向创作的发展走向不可避免地带有隐蔽的西学色彩。更多还原

【Abstract】 American Sinologist,Prof.Stephen Owen’s study on the poetry history and poetics of the Tang dinasty,taking the Mid-Tang as the demarcation line,divides the Tang poetry history in two periods,the Early and the High Tang;the Mid- and the Late Tang.The poetry of the High Tang represents the nonfictional Chinese poetry tradition:poetry of this period is the record of the real experience of a true world,not apart from daily life.The development of the poetry of the Early Tang into that of the High Tang is a process of poetry’s nonfictionalization and contextualization.By the Mid-Tang emerges western Art,which is separated from daily life.Poetry becomes a separate sphere,a vocation in its own right.Vocational poets group appear.Poetry is an art rather than a transparent adjunct to experience.Natural category,the Chinese poetic thinking method,as an important argument of the poetic development from a record of historical experience to creation,changes "categorical correspondences" into a willful act of analogy.If we say Stephen Owen carries out a comparable and complemental tactics between the Chinese and the West,nonfictional and fictional poetics in his study of the poetry of the Early and the High Tang,a corresponding tactics is adopted in his study of the poetry of the Mid-Tang and the Late Tang.There are two major problems in his study of the poetry of the Tang dinasty.One is methodlogical contradiction.In his first two books,The Poetry of the Early Tang and The Poetry of the High Tang,he studies the conventions,norms and rules of the style of this period with the New Criticism’s interior literary historical view and the Structuralism method.In The End of the Chinese "Middle Ages":Essays in Mid-Tang Literary Culture,he adopts a comparable view of the end of the Middle Ages and a vision of modernity.In The Late Tang:Chinese Poetry of the Mid-Ninth Century(827-860),he emphasizes the context of contemporary poetry and the problems of manuscript culture.His changeable points make his theoretical position unsteady and probably contradictory.The other is his hidden West position,which may bring cultural misreading and eurocentrism tendency.He tends to explain natural analogy in sense of Confucianism,marginalizes or ignores the marginal culture influence of Tao/Zhuangzi,Xuan,Chan on the poetic aesthetic experience,and sometimes he can’t grasp the spirit of the Chinese traditional poetry with the western interpretative method.All of these makes his conclusion of the poetics progress from a record of historical experience to creation inevitably has a hidden western poetic characteristic.更多还原