【作者】 张胜璋；

【导师】 汪文顶；

【作者基本信息】 福建师范大学 ， 中国现当代文学， 2009， 博士

【摘要】 本文以林纾的古文理论为主要的考察对象,以《春觉斋论文》为文本中心,并联系林纾的其它批评文本,按照系统论与比较论的思路研究林纾古文理论的内容、特色、价值、意义。林纾对桐城派古文论有继承与整合之功,撷精取宏于归、方、刘、姚,同时又不拘于桐城义法,“取法乎上”,直接师法于左、史、庄、骚、韩、柳、欧、苏。此外,林纾译介西方小说过程中进行的中西文化比较,是其理论资源与文学视野的拓展。林纾的古文研究拥有丰富精要的成果,以此为基础,建构了一套周密丰富的理论体系。从文体论的角度来说,林纾的《流别论》与《选评古文辞类纂》,主要取源于挚虞《文章流别集》、刘勰《文心雕龙》及姚鼐《古文辞类纂》。林纾继承了《文心雕龙》文体论的范畴与架构,又结合魏晋之后文体的发展,对古代文体分类、源流、功能、语体、风格、创作规则等范畴进行梳理、辨析与更新,并对当时文体发展现状与倾向也有着比较准确的捕捉,是《文心雕龙》后中国古典文体论的佼佼者。从艺术论的角度来说,林纾不愧为传统古文艺术理论的集大成者。其《应知八则》探讨了中国古典美学的基本范畴:意境、识度、气势、声调、筋脉、风趣、情韵、神味。林纾对意境论的诸种范畴进行深入的探讨,包括意境的内涵、意境的构成、意境的创造、意境的欣赏等有机成分。其中,“意境”是古文艺术的根本性、决定性因素,带有本原意义与生成功能;“识度”是意境的炼造,是作品的思想灵魂;“气势”、“声调”、“筋脉”是古文艺术的表现形式;“风趣”、“情韵”、“神味”是古文艺术的审美追求。它们构成了一个内容丰富、结构完整的古文艺术论体系。从批评论的角度来说,林纾评点左、孟、庄、骚,评点名家文集,评点各朝文学,最主要的特点是能将实例与理论、具体作品与作家批评相结合,是林纾文学思想与文学发展观、文学价值观最直接的体现。本文把林纾古文论定位于“中国古文论的集成与终结”。林纾对传统古文理论进行梳理整合,体现出比较鲜明的包容性与实践性的理论倾向。同时,他在并不规范的中西文学比较研究中,借助外来文化之光镀亮了中国传统古文中某些长期被埋没的特质,更新与拓展了中国传统古文研究视域,展示了与桐城派以及他们所敬仰的唐宋诸家截然不同的新气象。在更深刻的文化内涵上,他成为传统文学的终结者和新文学的启蒙者,在中国文学新旧转型过渡期履行了守旧开新的历史使命。更多还原

【Abstract】 This dissertation chooses Linshu’s theoretical system of ancient Chinese proses as the main researching project. Basing on Chun Jue Zhai Lun Wen and Linshu’s other critique on ancient Chinese proses, according to the theory of system and comparison, this dissertation stydies the contect、characteristic、value and signification of Linshu’s theory of ancient Chinese proses.In terms of critiques on ancient Chinese proses, Linshu continued the writing merits of those critics such as Gui、Fang、Liu and Yao, who are outstanding representatives of Tongcheng School. Furthermore, he went beyong that. Not rigidly adhering to Yi Fa(main principle held by Tongcheng School advocating that writing shouldn’t be devoid of substance and order), Linshu also modeled his writing after that of earlier eminent prose writers such as Han、liu、Ou、Su、Zuo、Shi、Zhuan、Sao. Hence, we may conclude that Linshu successfully carried forward the critiques of ancient Chinese proses of Tongcheng School. Besides, when translating western novels into Chinese, Linshu made contrasts between Chinese culture and western culture, enriching translation theories and broadening literature vision. Linshu studied ancient Chinese proses and produced many great works, based on which, he formed a well-conceived theoretical system with his own characteristic.From the aspect of writing style, Linshu’s chief theoretical achievement resulting from the study of style contain works Liu Bie Lun and Xuan Ping Gu Wen Ci Lei Zuan. The two works originate from Wen Zhang Liu Bie Ji written by Zhiyu、Wen Xin Diao Long written by Liuxie and Gu Wen Ci Lei Zuan by Yaonai. Carrying on the category and framework of the literary form adopted by Wen Xin Diao Long, combining the style development after the Wei dynasty and the Jin dynasty, Linshu synthesized、classified、discriminated and renewed several basic aspects of writing style of Chinese classics, including groups、origins、functions、styles、rules、reviews and so on. Apart from this, Linshu had a proper assessment of development at that time and tendency of writing style. What Linshu did had won himself the title of the outstanding figure on the study of writing style besides Liuxie, writer of Wen Xin Diao Long. From the aspect of art, Linshu deserves to be called a comprehensive synthesist of art theory of ancient Chinese proses. His work Eight Rules talks about some basic points of Chinese classical aesthetics: mood、insight、vigour、tone、humour、venation、sensation and taste. For each point, Linshu gave a detailed account of its concept、origin、evolvement、manifestation、writing technique and representative works. In ancient Chinese proses, mood(fundmental element of aesthetics), taste(primary feature of aesthetics and deep internal connotation kept by ancient proses), tone(external expression of taste), the three points make up a rich and well-organized art system of ancient Chinese proses.From the aspect of literary criticism, Linshu made comments on many collected works by literary masters of dynasties, working out a great number of reviews. His reviews feature in the good combinationof cases and theories, particular work and its critique, showing his strong individual character, and are the direct embodiment of Linshu’s literary thoughts and values.This dissertation regards Linshu as the comprehensive synthesizer and finalizer of the theory of ancient Chinese proses. Linshu’s works on ancient proses synthesize previous critiques on ancient proses and bring them and finalize them to their highest development.His work represented relatively strong trend of acceptance and practicability in theory. Meanwhile, in his uncommon compare of Western and Eastern literature, under the light of foreign culture, he aroused some long forgotten characteristic in ancient Chinese proses, refreshed and developed the research on ancient Chinese proses, showed a new and quite different visage from Tongcheng School and their revered Tang Song literature masters. In the deeper profundity of cultural connotation, he became the terminator of traditional literature and the torchbearer of new literature, fulfilled his historical responsibility in the great transition of Chinese literature.更多还原