摘要
本文在钱锺书相关论述的基础上,认为,尚简用晦的“春秋笔法”是源于《诗》的比兴寄托手法和美刺褒贬精神在史书写作中的拓展和延伸,并与赋比兴有明显的对应关系,是史蕴诗心的集中表现。史蕴诗心与西方后现代吏学既不同又相通,其理论意义在于解构了史学中关于“实录”、“信吏”观念的霸权地位,将史书还原为历史叙述文本;突破了传统以史为中心,史主于文的价值观念体系,确立了文艺性修辞在史书中的本体地位。
This text refers to the related treatise of Qian Zhongshu and maintains that poetry did not die after the working out of Spring and Autumn Annals (《春秋》), because this historical work contains poetical mind.The concise and ambiguous style of Spring and Autumn Times was come from the allusive techniques of The Book of Poetry , say metaphors and fancies, etc.. Such cases were different from, but somewhat like the postmodernism in the Western World by remaining the authenticity in the Chinese historical works.
出处
《文学遗产》
CSSCI
北大核心
2006年第5期18-23,共6页
基金
全国哲学社会科学基金项目(编号04BZW016)阶段性成果
关键词
春秋笔法
史蕴诗心
诗史关系
后现代史学
The concise and ambiguous style of Spring and Autumn Annals (春秋笔法), historical work contains poetical mind (史蕴诗心), Relationship between poetry and history, postmodernist historiography
