【作者】 郭思韵；

【导师】 孙明君；

【作者基本信息】 清华大学 ， 古代文学， 2009， 硕士

【摘要】 本文以时间为主线,在分析五行关联图式之建构与特性的基础上,探讨前者对唐前文学(性)叙事的渗入、作用与发展,及其所体现之特质和内在原理。五行关联图式是以金木水火土为枢纽取象归类而成的思维体系,亦是时人公认、互为表里的宇宙图式与表述体系,从而衍生出一种以近乎诡异的逻辑来进行近乎假定的因果之叙事。该叙事以时、空两大特质为中心运转,并以“喻”为关联原则的本位,通过图式的生胜休王与象类组合进行无限的推演与运动,甚至以人为命定的图式规则取代真实因果,从而干扰叙事中的各种设定与走向。唐前五行关联图式的文学性叙事,据所体现的特质,其历史发展如下:首先是“方位与序类”,分析屈骚等先秦作品中借助图式的方色、方神、方帝、方气、星宿等分布以落实现实或幻境中的“定位”之叙事特色;进而通过西汉诸赋中的征游规序、方位征象、车驾设定等叙事,建筑、地势上的借图式述位,以及汉郊祀歌各作的以图式象类架构全诗,论证五行关联叙事的序化、类化、异化与量化趋势,以及作者们创作时对属德符应的自觉与意图。其次则着重考察纬书,认为个中古史神话传说的叙事,是一种雅驯与规范化的诠释过程,而非纯粹搜罗或记载,故事的创造或编排,是根据象数之律所敷衍及繁衍成文的,意图分明。属德与符命,形象与个性,其中既定的地位、序次、类化、名谓、语辞,被作者们以一种“律的创作式”串联起来,折射了时人自觉并积极地运用五行图式的关联思维律来推演、发明并进行创作的特质。再次是“属性的中介”,五行叙事,还存在一种特殊的隐性影响方式,即扮演对象客体在塑造上的中介角色,于整个意象的流变过程背后不断施加干扰。唐前叙事中,以剑意象最能体现这种特质,如今人所熟悉的剑龙互化、侠义、辟邪、神异等寓涵,多由与五行关联体系渊源深厚的金、龙、道等的沿袭、模仿而来,其各种属性、模式等特质所源自的、最基础的原生象,以及描述话语的源泉,几乎均出于五行关联思维运作下的生成和发展。五行作为一种叙事手段,于时人并不显得晦涩难懂,反流动着无言之境的会意感与神秘性;而作为可多处套用的规律,其表现形态的扩散又是必然趋势。诗赋语言与结构、郊庙歌辞的变化、杂史志怪等的取材、思路、设定、铺垫、诠释、改造等,迎来了五行文学叙事成熟后的“纷繁而百融”盛况。更多还原

【Abstract】 Having“time”as the main pillar, this dissertation explores, on the basis of an analysis regarding the construction and characteristics of the Correlation Graph Formula of the Five Evolutive Phases:(i) The permeation of and the role played by the former in the Pre-Tang literary narration and the development to the Pre-Tang literary narration contributed by it; and(ii) the traits and immanent principles reflected by it.The Correlation Graph Formula of the Five Evolutive Phases is a system of thought which was formed by a classification of which Metal, Wood, Water, Fire and Earth are the hinges.The Correlation Graph also constituted universe graph formula and presentational system which were widely recognized; each affiliates and interrelates to another. A strange logic was thereby derived to carry out narration of presumptive karma. The narration centered on the two main traits, time and space. It also set“allegory”as the standard of the principle of relevance, advanced infinite deductions and motions through the begetting and subduing as well as the imago’s class of the Graph Formula. It even took the rule of the Graph Formula which was artificial and foreordained to replace the true karma in order to interrupt various configurations and trends in the narration.Bases on the traits reflected, the historical development of the literary narration of the Pre-Tang Correlation Graph Formula of the Five Evolutive is as follows:First and foremost was the“azimuth and ordered class.”This section analyzed the narrative unique features of“location”contained in the implemented reality or the realm of fantasy in Pre-Qin’s works of arts such as QuYuan’s“Sao”, which were demonstrated with the aid of distributions such as directional colour, directional God, directional Emperor, directional pneuma and constellation of the Graphic Formula. Furthermore, through(i) the narrations of the rules and orders of expedition and tour, azimuth’s symptom, settings of the imperial chariots et cetera, and(ii) the graphical rheme upon construction and topography in the poetries of West Han, and(iii) the use of graphical imago as the entire structure in poetries such as Han’s“Ode of Outskirts Sacrifice.”this section expounds on(i) the trend of sequencing, apperception, alienation and quantization of the correlated narration of the Five Evolutive Phases; and(ii) the consciousnesses and intentions of the fellow authors towards Shude and Fuying when they authored.The second part emphasized on the research of WeiShu. Narrations of history and myth in the WeiShu were not simply collections or records, creation or layout of story. Instead, they constituted an elegant and a standardized process of annotations and were proliferated according to the disciplines of image-numberology. They possessed clear intentions.The established status, sequence, apperception, naming and phraseology in Shude and Fuming as well as image and personality, had been connected by an“authoring pattern of discipline”by the authors. This refracted the trait of conscious and vigorous use by people of the correlating thoughts of the Correlation Graph Formula of the Five Evolutive Phases to deduce, invent and indite.The subsequent section concerns the“Intermediary Agents of Attributes.”The narration of the Five Evolutive Phases further contains a recessive method of influence which was extraordinary. It played the intermediary roles in the molding of the impersonated objects and constantly interrupted behind the transforming process of the entire imago. In the Pre-Tang narrations, this trait is most reflected by the imago of sword. Most of the familiar implications such as interconversion of sword and dragon, errantry, exorcising of evil spirits, gods and spirits today, followed and imitated Gold, Dragon and Tao et cetera which have strong tradition links with the correlated system of the Five Evolutive Phases.The most foundational original imago from which its various traits including attributes, modes et cetera were originated and the origin of its descriptive phrases both came from the generation and development under the operation of the correlated thoughts of the Five Evolutive Phases.As a narrative measure, the“Five Evolutive Phases”was not obscure to the contemporaries. Rather, there were silence understanding and mystiques flowing from it. As a law which could be applied in multiple places, the expansion of its display form was an inevitable trend. The language and construction of poetries, the variation of the“Ode of Outskirts Sacrifice”, the drawing of materials, train of thoughts, setting, foreshadowing, annotation, reconstruction et cetera of ZaShi and ZhiGuai, led to the birth of“Numerousness, Complicatedness and Harmoniousness”after the maturity of the Literary Narration of the Five Evolutive Phases.更多还原