【作者】 何爱英；

【导师】 白本松； 华锋；

【作者基本信息】 河南大学 ， 中国古代文学， 2001， 硕士

【摘要】 二十世纪中叶以来，学术界对《左传》文学价值的探讨取得了丰硕的成果，但对文体本身关注甚少。本文旨在运用文体学的基本理论，结合中国传统文化的某些特点，从文体演变及文化学的角度来探讨《左传》文体特征及其文化意蕴。 全文分为序言、正文、结语三部分。 序言部分，首先回顾了近半个世纪以米，有关《左传》文学价值方面的研究状况。其次，界定了本文使用的文体这一概念。再次，点明了本文选题的意义所在及本文运用的批评模式。最后交代了文章论述的前提。 正文分两层论述： 第一层，从三个方面论述《左传》文体的基本特征。首先，在体裁方面，《左传》在大致遵循编年体形式框架的前提下，对编年体形式又有所突破，出现了传记体形式的萌芽。且分别以“晋公子重耳流亡”一事及郑子产一生的行事为例，具体论述了《左传》传记体雏形萌芽的两种基本形式，即“随举一事而为之传”和“包举一生而为之传”。最后指出这两种形式是先秦史传文学中初次出现的人物传记雏形。 其次，论述了《左传》语言风格──典美博奥、委婉含蓄。本节试图从语言的功用方面着手，将《左传》的语言形式分为三种：第一，用以描写人物、描述政治军事活动场面、记述逸闻琐事的叙述语言。这类语言最突出的特点就是“言近旨远，辞浅义深”。第二，人物语言。包括人物对话、人物独白和行人辞令及谏说之辞。其中最突出的代表是行人辞令及谏说之辞。这类语言的主要特点就是声口逼肖、柔中有刚、委婉有力。第三，以“君子日”为代表的史论性、评论性语言。这种形式的语言虽然不是《左传》中的主要语言形式，但都经过作者的精心结撰，讲究文采辞藻，同《左传》中其它两种语言形式的风格是一致的，因此也具有很强的文学性和审美价值。本节最后指出《左传》语言讲求文饰，但又非文浮于质、夸饰过盛。 最后，试图从《左传》所呈现的总体市美风貌来考查其整体风格特征。本文认 且为这一风格特征就是壮丽、阔远。就文章的组织结构、规模而言，《左传》熔裁高妙、气象阔大。这一部分内容分两方面论述：第一，于编年体框架中对众多内容的精心组织。第二，对重大军事、外交场面的描写。就其能够引起读者持久的市美享受而言月p么，说《左传》卓烁异采、丰润富艳，当之无愧。 第二层，论述了《左传》文体有其突出特色。特征所蕴含的文化意蕴。首先，从文体自身发展的规律（对以往文体的继承与创新）方面，论述《左传》文体特征产生的内部原因。这一内部原因就是《左传》文体自身生成机制：在传统史官文化背景下，对以前两种文体形式（编年休记事形式的《春秋》和散文体记言形式的《尚书》）的渗透、融合，对旧文体的结构要素进行创造性的转化。转化生成的《左传》文体在体裁上，以编年休形式为框架，辅之以纪传体形式；在内容上，“言事相兼”；在表现手法上，一改以往朴素、简短的记述方法，大量采用夸张、修饰的手法，攸整个文章瑰丽浓郁、温润华藻。其次，从大的文化传统方面论述《左传》文体特征产生的外部原囚，即挖掘《左传》文体特征所蕴含的文化意蕴。本文认为这一文化愈蕴主要有三个方面：第一，浓厚的史官文化背景及人／民本意识。在这部分内容叶，，对《左传》中出现的人本思想和民本思想分开讨论。认为它们部是先秦理性精神的重要内容，但春秋时期的主流思想是人乍思想，而不是民本思想。所以《左传》小的人物主角是诸侯、卿大大，而不是下层人民。第二，精致、优雅的礼乐文化。有秋时彻，传统的礼治观念作为宗法社会的一b；·道德标准和行为规范，仍然是社会极为用要的精神支柱之一。礼治观念下的贵族文化发展到了它的颠峰时则。而贵族文化最为突出的代表就是引诗、赋诗和观乐。本部分分别就这三个方而来谈谈贵族文化对《左传》文体特征的影响。第三，蓬勃向上的时代精神；；巾于时代精神对作品风格的影响是通过作家的创作个性实现的，因此是间接的；又山于史＊们饲如，J洲］对《左传洲Z者的创作个性了解甚少。所以本部分内容只能结合春秋时代特征，从川2沦上探讨时代精神对《左传》总体风格的影响。 结语部分，简中论及《左传》文体特征对后世文体形式的影响。第一，在体裁方面。首先是对后世史书体裁的影响＿以《左传》中纪传体形式的萌芽为肇端，门世史书纪传体形式一枝独秀，鲜有例外。其次是在小说体裁方面。后世的小说无论是记“一人一事之本末”的接近纪传体的短篇小说，还是注重作品纪年的K篇小说， 2 都是以塑造人物形象为宗旨的。这是《左传》以人为小心历史意识的发扬光大。第 二，在语言及整体风格方面，《左传》对战国庄列诡橘之风及汉大赋的铺张扬丽均有 不可估量的影响。第三，在重视学术、重视历史文献的保留与传承方面，《左传》刘 后世史书体例也更多还原

【Abstract】 Since the mid-20th century, the academical circles have made fruit- ful achievements in probing into the literary value of Zuozhuan , yet showed little concern for style itself. This paper is intended to apply the basic theory of stylistics, combine some features of chinese traditional Cul- ture and probe into the stylistic features of Zuozlzuan and its cultural con- notation from the angle of stylistic evolution and stylistics. This paper is divided into three parts: preface, body and conclusion. First, the preface reviews the research condition of Zuozhuan’s literary value of the past five decades. Second ,it defines the concept stylist ics in this paper. Third, it points out the purpose of writing this paper and the critic mode in it. Lastly, it deals with the argumentative premises of this paper. The body is divided into two sections. Section Ⅰ deals with the basic stylistic features of Zuozhuan from three aspccts. First, Zuozhuan has made a breakthrough in the form of annals, roughly following the framework of annals and so appears the bud of biographical form. Taking Choiigcr’s exile and Zichan’s deeds for ex- amples, it deals with the two basic forms of the embryonic stage of Zuozhuan’s biography: biography by one deeds and biography by whole deeds. Finally, it points out the two forms are the earliest biographical embryo in the annalistic literature of pre-Qin dynasty. Second, it deals with the language style of Zuozhuan : profound & graceful, tactful & implicit. Starting from the use of language, it divides .4. the language forms of Zuozhuan into three types: I narrative language used to depict a figure, describe the f)olitical and military scenes and nar- rate anecdotes with the main features of aving simple expression but deep connotation? 11 . character language, including dialogue, mono- logue, diplomacy and advice with the latter two as its leading features. The main features of this kind of language is vivid and gentle, tactful but powerful. 111. annalistic and critic language represented by entleman says? Although not the main language from in Zuoz/zuun, the critic lan- guage is carefully conceived and consistent with other two language forms, streesing expression and wording and so has strong literary and ap- preciative value. Finally, it points out the language of Zuozhuan attaches importance to expression and wording, but never on the surface. Lastly, it tries to explore its whole style features by taking whole an- aesthetic features in Zuoz/zuan into account. This paper holds the style features as magnificent and massive. As far as the structure & scale of the paper are concerned, Zuozhuan is skillfully organized. This part is nar- rated from two ways. I . the elaborate organization of complicated coiit- cnt. within the annalistic framework. II . the dcscriptioti of significant military and diplomatic scenes. As for the readers?1)cr!flaflerlt anaesthetic appreciation, Zuozlzuan deserves to be elegant & replenishing. Seation II deals with the cultural connotation embodied from Zuozhuan stylistic features. First, starting form its developing rules, it writes about the internal causes from the stylistic features of Zuoz/zuan, which are the productive mechanism of Zuozhuan : the infiltration & combination of the original two style forms influenced by the traditional更多还原