【作者】 林春虹；

【导师】 左东岭；

【作者基本信息】 首都师范大学 ， 中国古代文学， 2009， 博士

【摘要】 茅坤是明中期的散文家兼批评家,不但在创作上取得较大成绩,在理论上也颇有建树,他所评选的《唐宋八大家文钞》对后世散文创作与批评影响深远。然而,无论是在明中期散文的研究中,还是在唐宋派的研究中,茅坤都未能受到学界足够的重视。本文选取茅坤作为研究对象,论述其散文观的丰富内涵及独特意义,并探讨茅坤在明中期散文观演进中的作用。文学观念与个人的人生经历及思想息息相关。本文第一章以茅坤人生理想及心态演变作为论述核心,从茅坤的人生经历与人生价值观两个层面展开论述。中年落职是茅坤的人生转折点,导致了他人生理想的落空;田园乡居是其一生的主要生活方式,而出世与入世的两难导致其心态始终未能达到超脱的境界。仕途的挫折尽管使其早年事功追求难以实现,但由此促成了新的人生契机,走上著述之路。在散文评点与散文创作的过程中,茅坤的散文观念逐渐成熟。第二章讨论茅坤的文统观。文统观是茅坤对古代载道思想的继承与发展,由正统定位、文道统一、散文史观三个层面构成,标志着茅坤散文观的初步建立。第三章讨论茅坤的“情至说”。“情至说”是茅坤散文观的核心,该命题的提出意味着其散文观念由“道”向“情”转移的新趋势。“情至”所包含的主体情感、客体情态等内涵体现出茅坤对散文情感性的理论自觉,并促动了其散文观的自身演进。第四章讨论茅坤的文法论。文法论是茅坤散文观的重要组成部分,包括文体论、本色论、章法结构论、语言风格论等内容。茅坤坚持“法”与“意”的统一,并成功运用于古文评点,这就使唐宋派的“师法唐宋”主张趋向完善。第五章讨论茅坤所提出的“风神”范畴。“风神”最初受叙事艺术启发而成,它的提出使茅坤散文观提升到一个新高度。“风神”是茅坤对“情至”、“文法”的综合凝炼,包含情韵、神态等美学内涵,它对散文美学的贡献决定了茅坤在散文发展史上的重要地位。茅坤作为一个批评家是成功的,但其创作实践与理论之间存在一定的矛盾,即在创作上未能达到相应的高度:思想深度不及唐顺之,才学不及王世贞,艺术创新性又不及归有光。第六章将茅坤与明中期几位有影响作家的散文观作了比较,总结茅坤在明中期文坛的地位,并分析其被相对忽视的原因。本文采用文学思想史的研究方法,结合茅坤之散文创作、评点及理论,系统研究其散文观并给予客观评价。基本观点为:就其具体的历史作用而言,茅坤散文观是对秦汉派与唐宋派散文观的折衷,在明中后期之间起到了一种过渡性作用;以一种更加宏阔的视角来看,茅坤散文观在继承前代散文观的基础上又有所创新,对后世散文观产生了深远的影响。更多还原

【Abstract】 Mao Kun was a famous proser and commenter in the mid-Ming Dynasty, he got great achievement on the theory of prose.“The Prose Collection of Eight Masters in Tang and Song Dynasty”that he compiled was very prevailing in the world and produced a far-reaching impact on the later articles. But no matter what the research on the prose of mid-Ming Dynasty or of“Tang and Song School”, Mao Kun has been ignored. This article selects Mao Kun as the object , discusses the unique significance of his prose and probes into his role in the evolution of prose concept in mid-Ming Dynasty.Literature concept coming into being is firstly bound up with one’s life experience and his state of mind. Chapter One of this article takes Mao Kun’s ideal and his state of mind as focus to discuss his life experience and the sense of worth. It was a big turning point that Mao Kun was relieved of his post in his midlife which aroused violent feeling of frustration. The idyll was the main style of his life, but whether entering society or staying out of it was in a dilemma for him which induced that he could never detach himself from reality. The frustration of his official career made him lose pursuit in his early age, but caused a new chance of life which made him walk up to the road of writing and compiling. During the process of his comment and creation of prose, his conception became mature gradually.Chapter Two to Chapter Five discussed some core questions of his prose conception. First, the conception of Wentong, which indicated that Mao Kun’s conception of prose had been initially established, was his inheritance and development of ancient idea that article was used to carry Dao. It concluded the following three aspects: Location of orthodoxy, unification of prose and Dao, his conception of history of prose.Second,“The view of Qingzhi”was the core of his conception. The appearance of this proposition meant in the field of prose the new tendency that Dao began to be changed to express feeling was occurred. The connotation of feeling and modality of objects contained in“The view of Qingzhi”showed Mao Kun’s theoretical realization of feeling character of prose, thus caused the advancement of his conception.Third, discussion of grammar was the important part of his conception of prose. It included the following content: stylistics, discussion of nature, discussion of art and structure, discussion of linguistic style and others. Although it belonged to category of prose form, Mao Kun insisted the unification of standard and intention, which was successfully used in his comment on the classical prose and made Tangsong School’s opinion of imitating Tang and Song tend to be perfect.Fourth, the production of category of“Fengshen”was originally enlightened by narrative art used in history biographies, then extended into other literary styles. Raising of this category made Mao Kun’s conception get great development.“Fengshen”was integration of“The view of Qingzhi”and“Discussion of Grammar”, which included emotion rhyme, spirituality and other esthetic connotation. His contribution to the prose esthetics meant Mao Kun’s status in the history of prose development should not be ignored.As a commenter, he was a winner, but he was loser on other aspects, for example, there is some certain conflict between his practice and theory, the depth of thinking in his article was inferior to Tang Shunzhi’s, his talent was not as good as Wang Shizhen’s, the innovation of his prose was inferior to Gui Youguang’s. Chapter Six compares Mao Kun with other prosers in mid-Ming Dynasty, summarizes his status and analyzes the reason he was marginalized.The way of research on history of literary thought is adopted in this article. We try to make judgments on Mao Kun’s conception combining with his creation, comment and his theory. Our basic views are followings: from cross direction, his conception was a compromise between“Qinhan School”and“Tangsong School”, and played a transitional role in middle and late Ming Dynasty. From longitudinal direction, his conception inherited traditional views and had his own innovation which had the meaning of inspire on the following ideas of prose.更多还原