【作者】 何李；

【导师】 陈晓芬；

【作者基本信息】 华东师范大学 ， 中国古代文学， 2010， 博士

【摘要】 本篇论文主要致力于对唐代记体文的研究。除了绪论和结语,共分为三章。绪论首先对记体文的文体概念进行探讨,主要根据郭英德对文体基本结构的定义,从体制、语体、体式和体性由外到内四个层次来界定记体文。然后介绍记体文的研究现状,主要针对散文文体专论、分体散文史和专以记体文为研究对象的论著三方面的学术成果,分析三类研究的基本思路和优缺点,同时对国外汉学界的研究情况也略有涉及。最后阐述本文的研究意义、基本思路和行文宗旨。第一章为“‘记’体溯源及先唐‘记’的流变历程”,分为三节。第一节进行文体溯源,探讨“记”的含义及演变轨迹,指出“记”字作为动词可表示记忆活动、记录活动、记录并阐释活动三种情况,而后两种行为完成以后产生的文本就是记类文章,可分为记录类“记”和阐释类“记”两种,这也就是记体文产生的源头。第二节陈述记体文在六朝、唐代、宋代三个时间段的接受情况：六朝时期有作品而缺乏创作自觉,唐朝出现创作自觉但未上升到理论层面,宋代既有创作实践又有文体理论作为支撑。第三节介绍先唐记体文的基本情况,先按载体划分为刻石与非刻石两类,再按表达方式划分为记叙型和论说型,通过对不同类型作品的比较分析展现记体文在唐前的存在面貌。第二章为“唐代记体文的总体概况”,分为三节。第一节利用具体数据对唐代记体文作直观介绍。第二节为本章重点,先按照载体的不同,将唐代记体文划分为刻石类和非刻石类,然后于每一大类下根据文章内容再作细分。刻石类记分为营建类记、壁记、功德记、墓记、题记、造像和造经幢记六类,非刻石类分为山水类记、器物类记、人事杂记三类。对于每一子类的作品,主要通过对代表作的解读来揭橥其特征。第三节以时间为序,将记体文在唐代的发展划分为起步期、发展期、全盛期和成熟期四个阶段,归纳各阶段的创作特点,藉此勾勒记体文的流变轨迹。第三章为“唐代记体文重要作家研究”,分为十二节,选择作品数在八篇以上且个性比较鲜明的作家进行个例分析,作为考察唐代记体文的另一个角度。共计十三人：李华、颜真卿、元结、独孤及、梁肃、权德舆、韩愈、柳宗元、刘禹锡、白居易、李德裕、沈亚之、徐铉。结语部分总结全文,并对宋初记体文略作涉及。附录有两则：一是据《全上古三代秦汉三国六朝文》整理的唐代之前以“记”名篇的作品列表,一是据《全唐文》《唐文拾遗》《唐文续拾》整理而成的唐代以“记”名篇作品的分布表。更多还原

【Abstract】 This dissertation is mainly dedicated to a study of Ji, a prose genre, in Tang dynasty. Besides preface and epilogue, it is categorized into three chapters.In the preface, the concept of Ji is discussed. Largely based on Guo Yingde’s definition of the basic structure of one style, here Ji is characterized, in an external-to-internal order, at four different levels:style structure, language style, representation and internal spirit. Then, the current research of Ji is introduced, focusing on three classes of academic achievements:monograph of genres of prose, monograph of the certain genre of prose and works specializing on Ji, followed by the analysis of their respective basic ideas, merits and drawbacks. Meanwhile, current status of international research in sinology is also briefly mentioned. At last, the significance, basic idea and tenet of this dissertation are elaborated.Chapter one is titled "Tracing-back of Ji and Development of Ji in Early Tang dynasty". This chapter is divided into three sections. The first section applies itself to tracing the origin of Ji, discussing the meaning of Ji and its evolvement. It points out that the character Ji, as a verb, can denote three situations:memorizing activities, recording activities, and recording and interpreting activities. The accomplishment of the latter two activities can develop to the text of Ji. Therefore, Ji is accordingly classified in two categories:recording Ji and interpreting Ji, both of which are the origin of Ji. The second section states the development of Ji during Six Dynasties, Tang dynasty and Song dynasty. In Six Dynasties, Ji works appeared but were produced without self-knowledge.In Tang dynasty, Ji works were produced with self-knowledge but in lack of theory backbone, followed by writing practice and style theory enriched Ji works emerged in Song dynasty. The third section introduces the circumstance of Ji in early Tang dynasty.First classifying Ji into inscribed and non-inscribed categories by their carriers, then into narration and argumentation categories by manifestation mode, this section demonstrates the features of Ji in early Tang through comparing analysis of works of different types.The second chapter is "General facts of Ji in Tang", also divided into three sections. The first section gives an intuitive introduction to Ji in Tang by using statistics.The second section is the key of this chapter. The third section introduces the circumstance of Ji in early Tang dynasty.Based on their carriers, this section first classifies Ji into inscribed and non-inscribed categories, and then fractionizes each category according to the content. The inscribed category is fractionized into six classes:buildings, wall carvings, merits and virtues, epigraphs, wall writings and sculptures, while the non-inscribed category into three classes:landscape, objects and miscellanea. Traits of each class are revealed by analyzing its representative works. The third section divides the evolvement of Ji in Tang into four phases in temporal order:initiation, expansion, prime and maturation. Writing characteristics of each phase are generalized in order to delineate the evolving trace of Ji.The third chapter is "A Study of Key Writers of Ji in Tang", divided into twelve sections.To investigate Ji in Tang from a different perspective, case studies are conducted for writers who produced more than eight works and had sharp personalities. Thirteen writers are studied:Li Hua, Yan Zhenqing, Yuan Jie, Du Guji, Liang Su, Quan Deyu, Han Yu, Liu Zongyuan, Liu Yuxi, Bai Juyi, Li Deyu, Shen Yazhi, Xu Xuan.The epilogue summarizes the dissertation, and briefly refers to Ji in Song. There are two appendices:a list of pre-Tang Ji titled works, sorted according to "Quan shanggu Sandai Qin Han Sanguo Liuchao wen"; and a distribution list of Ji titled works in Tang sorted according to Quan Tangwen, Tangwen shiyi, Tangwen xushi.更多还原