【作者】 魏春春；

【导师】 梁道礼；

【作者基本信息】 陕西师范大学 ， 文艺学， 2010， 博士

【摘要】 以船山诗学思想为研究对象,通过对王船山诗学价值的追寻,呈现王船山文化巨人式的独特魅力,反思王船山诗学成因的历史因缘及其思维动因,并力图呈现中国古典诗学在特定历史时域的发展趋向及其特定的文化意义。论文主要分为五个部分：(一)王船山的生命情怀。主要通过考究船山行述,以展现王船山思想生成的时代文化影响；通过考察船山系列梦作,包括词和杂剧两种形式,力图展现困扰王船山一生的情感难题,呈现作为大明遗民的王船山的内心世界。(二)船山《诗》学研究。王船山的《诗》学研究是其诗学建构的重要前提,因而关注其《诗》学研究成果就成为渐进王船山诗学世界的一把钥匙。《诗经稗疏》《诗广传》《诗译》分别从不同层面和角度体现着船山《诗》学的特色。《稗疏》重训字训词,疏解名物,以纠前说;《广传》因诗立意,重《诗》经意,随意发挥,任意而作,是王船山思理的集中表现；《诗译》绎衍诗艺,抨击文弊,是王船山《诗》艺原则的重要表达。以此三部作品,船山奠定了其诗学研究的基石。(三)诗体论研究。通过对三大《评选》诗体发展史的梳理、分析,建构了王船山的诗体观念论。船山以为后世所有的诗体都源于《诗》经,所以后世的文体理应秉承《诗》的价值观念和艺术表现方式。后世诗歌的发展看似繁华,实则是对《诗》意、《诗》艺的背离。诗发展到明末,不可避免地走向了衰落。(四)现量论。通过考察《相宗络索》之“现量”概念,发现船山所谓“现量”非佛学之“现量”。船山的“现量”是其哲学认识观念的具体体现。而船山将“现量”引入诗学,表现出船山对传统诗学的背弃,试图建构新的诗学体系。经过船山的误读,现量与“诗道性情”观念在内在精神上是一致的,于是,现量成为船山诗学的重要概念。而考察船山之具体应用,现量统率着声情和情景这两种诗学范畴。声情更为关注外在之境的内化,情景更为关注内在之境的外化;声情更为关注形而上的本质,情景更为关注形而下的现象实体。声情与情景的结合才是对现量境界的完美呈现。(五)思维论。船山的诗学思维是建基于哲学思想和伦理思想之上的,于是将哲学“气”本论与伦理“性”本论结合在一起,就成为王船山思维诗学化的重要前提。通过考察,发现船山以“诚”为中介将气与心结合在一起,构建出气——诚——心的思维模式。这一模式是船山诗学思维的起点。结论是,船山尽管以其理论的深刻和诗学建构的精致取胜,但仍然是儒家式的,且其诗学观念相对晚明时期流行的诗学观念而言,是对传统的回归。更多还原

【Abstract】 This dissertation takes Chuanshan’s poetics as the thesis, and, through a search for its significance and value, tries to bring to light the charm of a cultural giant. Further studies are made into the causes for the formation of his poetics, as well as the tendency and significance of the Chinese classical poetics in a specific historical period. It consists of five parts:PartⅠEmotional Life of Wang Chuanshan. A study of his life and career is made to show the cultural impact of his time on the formation of his poetic thought. Another study of his literary work, ci poems and zaju operas, is made to reveal the emotional problem that puzzled all his lifetime or the inner world of one who transited from the Ming to the Qing Dynasty.PartⅡA study of Chuanshan’s Poetic Studies. Chuanshan’s Poetic (‘shi’) Studies, a premise for for the construction of his poetics, is the key to the study of his poetic thought. Shijing Baishu, Shi Guangzhuan and Shiyi, three of Chuanshan’s major poetic work, characterize his poetic studies. The first emphasizes interpretation of zi and words, as well as things and animals; the second attaches importance to semantic expression and random writing; the latter forms a critic analysis of the contemporay poetic composition. All these constitute the cornerstone of Chuanshan’s poetic studies.Part III A Study of Poetic Forms. An investigation is made of the development of three major poetic forms in an effort to construct Wang Chuanshan’s ideas of poetic forms. Wang believes that all poetic forms originate from The Book of Songs and should abide by the ideology and artistic values found in it. Poems writing in the later periods seem to be flourishing but in reality is a deviation to such ideology and values. It is inevitable that it came to the deadend at the end of Ming Dynasty.Part IV The Theory of pratyksa-pramana. An analysis of Indexx to pratyksa-pramana of Zen indicates that the term‘pratyksa-pramana’is not that used in Buddhism, but is used by Chuanshan as a philosophical sense. Introduction of the term into poetic study marks his departure from the traditional poetics and his effort of constrcting his own poetic study. Such misinterpretation complies with the‘morals and sentiments of poetry’and thus the term becomes a key concept in Chuanshan’s poetic study. Studies show that the term governs the two major categories in his poetics: sound of mind and situation - the former focusing on the internalization of the external situation with a metaphysical feature, and the latter strssing the externalization of the inner mind or the concrete phenomena. A combination of the two make up the perfect representation of the realm of’xianliang’.PartⅤTheory of Thinking. Chuanshan builds up his poetic thinking theory on a philosophical and ethical basis, and combines the theory of‘qi’and‘nature’into an entity, which provides the major premise for his poetic thinking.‘Sincerity’, according to Chuanshan, serves as the medium in the combination, and thus“qi-sincerity-nature”constitutes his poetic thinking pattern, the starting point of his poetic thinking theory.The conclusion that is drawn from the analyses is that in spite of the profound poetic theory and the delicatepoetic construction Chuanshan’s studies and thought belong to the Confucianism and that his poetic ideology in comparison with the current ideology in the late Ming Dynasty is in effect a return to the earlier tradition更多还原