摘要
《楚辞》研究史中,汉代以至宋代,人们大体从屈原之人格与情志角度更多讨论的是屈原其"人"而非其"文"。这一诠释典范至宋代朱熹始变,及晚明清初而转型,借由考究屈辞作品本身语言形式之艺术性以诠评其美感及价值。这个走向所呈现之理论视野、审美意识与批评方法,均甚为可观。《离骚》篇中两次超写实的幻想天界巡游便已明白启示想象是诗的灵魂。两次虚构的神界飞行,直接打通事实(factual)与虚构的(fictional)畦界,同化为一,这自然不是以任何写实的叙写模式所能兼容索解。对此,蒋骥《山带阁注楚辞》能在崇实斥虚的文学思想外,正视屈辞的"虚构"性质与意义,是对屈辞"艺术性"认识的拓深。
Since the Han Dynasty,most researchers had studied Chu Ci from the perspective of Qu Yuan's personality and his emotions rather than his writing style until the Song Dynasty when Zhu Xi initiated a new approach which focused on the aesthetic values of the work and the literary artistry of Qu's writing.This new research paradigm became mature in the late Ming and early Qing Dynasties,and brought Chu Ci research to a higher level in theoretical horizon,aesthetic consciousness and criticism approach.The two super-realistic fantasy journeys to heaven in Li Sao reveal that imagination is the soul of poetry.The two fictional journeys in the work break the demarcation line between the factual world and the fictional world and bring them together,which cannot be explained by any realistic narrative model.Remarkably,Jiang Ji has realized the significance of the fictionality of Qu Yuan's prose poems,besides the high value he put on realism in his Shan Dai Ge Zhu Chu Ci,which is an in-depth exploration of the artistry of Qu Yuan's works.
出处
《吉林大学社会科学学报》
CSSCI
北大核心
2017年第6期142-152,共11页
Jilin University Journal Social Sciences Edition
关键词
楚辞学
屈原
蒋骥
《山带阁注楚辞》
幻境
Chu Ci studies
Qu Yuan
Jiang Ji
Shan Dai Ge Zhu Chu Ci
fictional states
