【作者】 于永森；

【导师】 杨存昌；

【作者基本信息】 山东师范大学 ， 文艺学， 2010， 博士

【摘要】 “豪放”是中国传统文化孕育的具有独特内涵和鲜明民族特色、反映着一种积极刚健精神风貌和审美意识的美学范畴,它在中国古代的社会人生、思想精神和文学艺术中占有重要位置。从古至今,对“豪放”的研究基本上都局限在词学的领域之内,而对其前期的发展嬗变及内在的深厚内涵,则很少有人研究。把“豪放”作为一个美学范畴来进行全面探讨的,更属阙如。本文主要分为两大部分:一是力图从美学范畴本体研究的角度出发系统而全面地探讨了“豪放”的发展、嬗变的历史,根本思想精神、哲学辩证法精神和诗学精神,内涵和生成,及其在文学艺术中的表现,等等内容;一是集中研究了“豪放”范畴涉及到的主要理论问题,探讨了“豪放”和“婉约”(及与此有关的“本色”、“中和”等范畴)的有关理论问题,进而确立“豪放”的价值及其在古代诗学、美学中的地位,为中华民族新的审美理想的建立,提供有益的参照。文章共分为十个部分:导言:主要探讨了“豪放”作为一个美学范畴在中国古代美学及范畴中的地位及本文选题的由来,关于“豪放”范畴研究的情况综述及研究“豪放”的逻辑起点,阐明了本文研究的方法和逻辑思路。第一、二章:主要探讨了“豪放”的形成和嬗变。“豪放”萌芽于先秦中国传统文化奠基的历史时期,是社会礼法制度逐渐加强、腐朽并形成对人性的压抑和束缚的产物。其中“放”的一面最先起步发展,并在老庄思想中得到体现;而“豪”的生成则主要是儒家思想的影响,尤其是其积极入世的精神和社会理想。“豪放”在魏晋人的自我意识初步觉醒的历史时期产生和发展起来,经过南北朝及隋代的酝酿,在唐代的文学艺术中得到了较大发展和体现。宋代是“豪放”发展为一个基本美学范畴的时期,尤其在词这种文体中得到了极大的发展并趋于成熟,但是它在当时人们的审美意识中并不占有正宗的位置,且为正统的审美意识所排斥。元曲之中则是以“豪放”为特点的文学作品占据了主流地位,曲本身的形式即有着“豪放”的特点。而随着诗歌——即很大程度上是以主体的抒情为主的文学体式——在封建社会后半期的衰落,代言体的戏曲和小说的兴起,加上中国封建社会后半期思想越来越趋于保守和缺乏创造创新精神,“豪放”的盛极而衰也就不可避免了。第三章:主要论述了“豪放”的根本思想精神、哲学辩证法精神和诗学精神三个方面。“豪放”范畴的根本思想精神是指儒、道互补、取长补短、意在现实的积极人生境界;哲学辩证法精神是指中国封建社会后半期民族审美意识对“中和”之美的偏离和歪曲,在很大程度上背离了以《易传》美学为代表的刚健积极精神;诗学精神是指诗“可以怨”的精神,在传统的偏于柔弱消极静态的审美意识影响之下,以“温柔敦厚”为特点的传统诗学对于“豪放”进行压抑和排斥,“豪放”范畴成熟于宋代并与“婉约”相对待,是这个过程之中的一个关键环节。第四章:主要探讨了“豪放”概念的义界、内涵及内在结构合成。“豪放”在义界上有广义与狭义之分,而作为审美范畴的“豪放”,主要体现在其狭义上,其核心内涵是“不受拘束”;广义上的“豪放”是“壮美”的象征,它和其他一系列“壮美”范畴一起构成了“壮美”的风格,而在宋代以后“豪放”成熟为一个基本美学范畴之后,则成为这些“壮美”范畴的核心范畴。“豪放”作为一个美学范畴,其内涵涉及三个层面:内在精神层次的意义,表现为人对于腐朽礼法制度的反抗和超越;艺术表达层次的意义,表现为作者主体对于过时的规律和相对真理的超越;风格层次上的意义,表现为对“婉约”和“优美”风格的突破和超越。“豪放”的内在结构是由“豪”和“放”两部分按照“中和”之美的规律结合在一起的,而这一结果是由中国传统文化精神和美的规律两方面的因素促成的。“豪放”的生成,可以用“‘志’(理想,包含‘小我之情’→‘大我之情’的生成过程)→‘气’→‘豪’→‘放’”这样一个流程来阐释。“豪放”生成的主体方面的原因主要是人的志意理想促成了内在的“气”的积聚,而客观方面的原因则主要是和地域、社会、时代、心境及其他物质因素——尤其是酒联系着的。第五章:以具体的故事或文学作品为例,阐述了“豪放”在文学艺术中的具体表现及其主要美学风格特点。“豪放”之美集中的文学艺术,主要是诗歌和绘画、书法等等领域。“豪放”作为一个美学范畴,主要有三个特点:鲜明而强烈的主体性精神特征;盛大而充沛的内在气蕴和外在气势;直抒胸臆、淋漓尽致的表达方式。第六章:主要探讨了“豪放”和一些容易混淆的美学范畴之间的区别与联系,至于明显与“豪放”区别开来的范畴,则不在探讨范围。“豪放”和“中和”之美的辨正,主要论述了“豪放”是“中和”之美的一种形态,而且是其较为健康和积极的一种形态,它在哲学的高度上秉承并代表着《易传》刚健积极为主的“中和”之美一路。和“壮美”的辨正,主要论述了“豪放”是一种最富有主体性精神的“壮美”。和“崇高”的辨正则主要指出“豪放”可以被主体以外在的形式上直接表现出来,而“崇高”只能在主体或审美对象的内心产生;“豪放”产生的根源是主体的“志”(理想),是独具中国传统文化特色的“儒”、“道”两家思想互补的一个结晶,而“崇高”产生的根源则是主体对外在世界的“恐惧”,以及由此带来的对于命运和虚无的思考,最终达到对“有限”和“无限”的超越;“豪放”的主体通过积极介入现实社会生活而得到自身精神境界的提升,而“崇高”的主体则往往是通过悲剧性的毁灭来得到精神境界的升华;综合比较起来,“豪放”更具有现实性,而“崇高”则往往带给人们强烈的心灵震撼,对现实生活并无多大的改变。和“浪漫”的辨正主要是与西方的“浪漫主义”文艺思潮来进行的,指出两者主要内容和历史地位不同,“浪漫主义”的核心思想是个性解放,其主体资产阶级最终推翻封建制度而成为统治阶级,具有特定的历史内容和历史地位,仅仅兴盛于十九世纪初数十年的时间,而“豪放”则是以主体强烈的现实意识和社会责任感为中心进行变革和创新的一种体现,它在中国古代始终没有脱出封建制度及其思想的控制,贯穿了整个封建社会的历史,具有更为旺盛的生命力和现实基础。第七、八两章:主要研究了“豪放”在中国诗学史上的一些理论问题,这些理论问题基本上都是在“豪放”范畴成熟之后的宋代以后产生并发展起来的,和“豪放”的对立范畴“婉约”有着密切的联系,本部分研究的六方面的问题,都以这个问题为基础。具体的观点有:“豪放”是对“婉约”的突破与发展;“豪放”词可以兼有“婉约”词之长,反之“婉约”词要兼有“豪放”词之长则甚不易,这是由于受到主张“婉约”为词的正宗或本色的观点的限制,研究历史上的词人词作,可以更为清晰的看出这一点;“豪放”和“婉约”一样,既能在词这种文体中具有“本色”的地位和性质,同时在元曲中,又具有独一无二的“本色”的地位和性质;用“诗化词”来贬低“豪放”词并非词这种文体的“本色”的观点,并不能成立,相反,词只有在一种向大诗学(即诗、词、曲同为一种诗歌体裁的阶段性形式)发展的趋势上,才能提升其文学境界和思想境界;“豪放”和“婉约”二分法具有重要的理论意义,近、现代一些认为这种二分法过于简单的观点,其实并未认识到这种二分法的独特贡献,即它对于“豪放”范畴成熟的关键意义的揭示;“豪放”作为一种内在的精神,内在的推动着从诗到词、从词再到曲的文体变化历程,在各个文体阶段上,“豪放”都有自己独到的特色,发挥不可替代的作用。第九章:主要阐述了在民族审美意识重建的宏观视野下,“豪放”美学范畴研究的现代意义。“豪放”和中华民族新时期文化复兴和审美意识大方向的重建,具有内在的必然联系,并将起到无可替代的作用,我们的时代需要建立一种积极进取的以“阳刚之美”为主要风貌的审美意识,以促进国家和民族文化的全面创新和发展,而其中所具有的“豪放”精神的内核,是中华民族复兴的精神基础;“豪放”是我们批判的继承中国传统文化的基础,也是新时期开创中国新文学的前提条件,它对于人的发展,对于发展人从而使之达到更高的层次和理想境界,也具有特别重要的现实意义。更多还原

【Abstract】 “Haofang”(“bold and unconstrained”) belongs to an aesthetic category with unique connotation and the national characters in the Chinese traditional culture and aesthetics, reflecting one kind of positive vigorous aesthetic consciousness and holding an important position in humanities and the field of the literary arts of the Chinese ancient times.From ancient times till now, the research on it are generally confined to the domain of“Ci”poem, but few researchers have conducted study into its development of the earlier period and deep intrinsic connotation and implication,and nobody has study it from the point of view of the category comprehensively.This paper is divided into two parts with two major emphases: From an aesthetic point of view of noumenon categories,the first trys a systematic and comprehensive exploration of“Haofang”as an aesthetic category on all aspects, including its development and the evolution of history, its fundamental thought and spirit, the dialectic of philosophy, the poetics contents and the synthesis of the internal structure, the performance of literature and art, the characteristics, etc.With the vision of ancient Chinese poetry, the second focuses on the the major theoretic problems of“Haofang”and“Wanyue”(“婉约”,“graceful”) ,and the related problems of“natural color”(“本色”)and“neutralization”(“中和”),thereby establishing the value ,the status in the ancient Chinese poetry and aesthetics of“Haofang”which providing a useful reference to the Chinese nation to establish a new aesthetic ideal. This thesis falls into ten parts:The introduction discusses the origin of this paper and the status of ancient Chinese aesthetics of“Haofang”, the summarizing of the prevenient studies ,the logical starting point of the study, clarifies the methods and logic thoughts of the paper.The first and the second chapters mainly illustrates the formation and evolution of“Haofang”.“Haofang”germinates in the period of pre-“Qin”dynasty, laying a foundation of Chinese traditional culture. It is the outcome of the social etiquette system strengthened and decayed gradually, which constrains the nature of human being.“Fang”is developed firstly and embodied in the thoughts of“Lao-Zhuang”philosophy, and then the development of“Hao”is influenced by the Confucianism——especially its thoughts and spirit of social ideal and positively facing social existence and living.“Haofang”developed gradually in the“Wei”and“Jin”dynasties, in which times people’s self-awareness awakened initially. It obtained an obvious development and embodiment in the literary arts in the“Tang”dynasty through the fermentation of the“Southern and Northern”dynasties and“Sui”dynasty. In“Song”dynasty,“Haofang”developed into an aesthetics category which especially embodied in“Ci”as a literature style and gradually matured, but it did not ever hold the orthodox school position in human’s aesthetic consciousness and was often repelled by the legitimate aesthetic consciousness.In the“Yuan”dynasty, the literary works of“Qu”with aesthetic characteristics of“Haofang”takes up the mainstream status.“Qu”itself, as one literary form, has an aesthetic characteristics of“Haofang”. With the decline of poetry, which mostly embodies the subjective expression of their emotions directly at the end of feudal age,“Haofang”declines partly because of the bloom of drama and novel. Additionally, its decline results from the more and more conservative thoughts as well as the lack of the creative spirit in the Chinese feudal society’s evening.The third chapter mainly elaborates the spirit of the fundamental ideas, the dialectic of philosophy and the poetics of“Haofang”. The spirit of the fundamental ideas means the positive realm of life from the mutual complementation between confucianism and taoism which absorbed their strengths and overcomed their shortcomings,and aimed at actively involved in real life.The spirit of the dialectic of philosophy means the departure and distortion of the aesthetic consciousness to the beauty of“Zhonghe”at the night of Chinese feudal society,which much have lapsed from the energetic and positve spirit of Yizhuan’s aesthetics of Confucian in pre-Qin dynasty. The spirit of the poetics means the poets can complain in their works concerned about the oppression and repulsion to“Haofang”in the traditional poetics whose ideal and characteristics are the beauty of“Wenroudunhou”(“温柔敦厚”)under the aesthetic consciousness whose features inclined to limpness, negativity and static,and the maturation of“Haofang”and its opposing to“Wanyue”is a key tache of this course.The fourth chapter mainly discusses the meaning boundry,the connotation and the synthesis of“Haofang”. In terms of its meaning boundry,“Haofang”has both the broad sense and the narrow sense, and embodies a narrow sense as an aesthetic category which core connotation is unconstraint. The broad sense of“Haofang”is the representation of sublime,which links with the other sublime categories forming the style of sublime and becomes the core of them after“Haofang”has matured a category. As an aesthetic category,“Haofang”has the meaning of intrinsic spiritual level, which has the embodiment of the people’s revolt and surmounting to the decayed etiquette system, the meaning of artistic expression level which has the embodiment of the people’s surmounting to outdated rules and relative truths, the meaning of the style level which has the embodiment of surmounting of“Haofang”to“graceful and restrained”and“cocinnity”.“Haofang”is formed by“Hao”and“Fang”according to the aesthetic rule of“Zhonghe”,and this result had been caused by two facters of aesthetic rules and the Chinese traditional cultural spirit. The creating of“Haofang”may illustrates a flow of“ideal”(“志”)(including the course of“individual sentiment”→“collective sentiment”)→“Qi”(“气”) →“Hao”(“豪”,a plenteous state of“Qi”)→“Fang”(“放”,the expressing of“Qi”).The accumulation of people’s intrinsic“Qi”which is caused by their ambition and ideal is the subjective reason to produce“Haofang”,and the objective reasons are mainly the region, the society, the time, the mood and other material factors——liquor is involved in particular.The fifth chapter mainly discusses the representation in the literature and art of“Haofang”and its characteristics of aesthetic style.The beauty of“Haofang”mainly centralizes in the domain of poetry,painting and calligraphy. As an aesthetic category,“Haofang”has three main features: a clear and strong mental characteristics of the main body; grand and abundant internal and external vigor state; directly and thoroughly expression of one’s mind and the manner.The sixth chapter mainly discusses the differentiation of“Haofang”from the other correlated categories.The differences between“Haofang”and the beauty of“Zhonghe”mainly focus on that“Haofang”is one of the energic and positive kind of the latter which inherites from Yizhuan(《易传》). The differences between“Haofang”and“gallant beauty”especially lies in that“Haofang”is one kind of beauty with the most subjective spirit.The differences between“Haofang”and“sublime”mainly are that“Haof ang”could be displayed directly in the external form by the mainbody when“sublime”only could be felt in the hearts of the human beings,and the creation root of“Haofang”is the main body’s ideal and it is a crystallization by the unique Chinese traditional cultural characteristics of mutual complementation between confucianism and taoism.The creation root of“Sublime”is the mainbody’s fear of the external world, which resulting for the thinking of the fate and nothingness, ultimately reaches to a transcendence between“limited”and“unlimited”. The mainbody of“Haofang”gets own spiritual realm upgrading through his/her actively intervention of the real social life,and the mainbody of“Sublime”often obtains own spiritual realm of sublimation through the tragic destruction of him/her. Comparing both of them comprehensively,“Haofang”has much reality and“Sublime”often gives people a strong spiritual shock while little change in real life.and“Haofang”has more reality. The differences between“Haofang”and“romantic”(here mostly refering to“romanticism”in west) especially lies in that as a literary ideas the later has the different content and historical status with“Haofang”.The core idea of“romanticism”is individual liberation, and its mainbody the bourgeois finally overthrew the feudal system and became the ruling class, so“romanticism”has a specific historical content and historical position, which only flourished in the early nineteenth century with several decades of time.“Haofang”is a kinds of expression that based on the reality of the mainbody’s strong awareness and social responsibility as the center for change and innovation, and in ancient China it never get out of the feudal system and its ideology’s control,undergoes the whole history of feudal society and has more vitality and basis in reality.The seventh and the eighth chapters mainly studies several main theoretical problems of Chinese poetics of“Haofang”, which are basically produced after“Haofang”becoming a category after the Song Dynasty and closely linked to“Wanyue”. The six aspects of the following studies of the two chapters bases on this problem,and the pionts of view are:“Haofang”is the breakthrough and development of“Wanyue”;“Haofang”may own the strongpionts of“Wanyue”and the latter cannot own the former’s because confining to the view that“Wanyue”is Ci’s orthodox school or true qualities,it is very clear if we study the Ci production in history;“Haofang”and“Wanyue”are all Ci’s true qualities,and“Haofang”is also the only true qualities and orthodox school in“Qu”(“曲”)of“Yuan”dynasty but not the“Wanyue”;it is cannot come into existance debating“Haofang”is not Ci’s true qualities or orthodox school with“Haofang”is a kind of Ci like to the Poem,reversely only with a“broad sense of poetry”(“大诗学”,that means poem,Ci and Qu are all one of the phase forms of poetry) Ci can develop truly and deeply and exalt its literal and thought bourns;the theory of dichotomy of“Haofang”and“Wanyue”has very important sense,in the past some scholars are not cognizant of its special contribution that considering it is too simple to Ci’s styles and ignore its key meaning to open out the maturation of“Haofang”as a category;as an inner spirit“Haofang”innerly promotes the style change coures of poetry to Ci and Ci to Qu,and at any course“Haofang”has its special characteristic and plays an irreplaceable role.The ninth part mainly discusses the modern significance of studying“Haofang”with a macro-perspective of national reconstruction of aesthetic consciousness.“Haofang”has an inherent necessary relation with the Chinese people’s aesthetic rebuilding of the total direction and the renaissance of culture in the new stage and period, and its effect will not be replacable. The new age of China needs to establish a positive and aggressive aesthetic sense that giving priority to“beauty of masculinity”(“阳刚之美”)in order to promote the nation’s whole innovation and development,and the spirit kernel of“Haofang”is the spiritual basis for the cultural revival of Chinese nation. It is also the foundation of critically inheriting the Chinese traditional culture and the precondition of creating a new Chinese literary arts in the new stage and period. It has a very important significance to people’s development, making them reach to a higher and perfect state.更多还原