基本介紹
- 中文名：詩歌總集編選與古今詩歌文化語境變遷
- 類別：變遷
- 類型：語境
- 對象：詩歌
中文摘要,外文摘要,
中文摘要
詩歌總集是了解詩歌和時代的視窗，是詩歌研究不可或缺的內容。它能反映出特定的時代人們對於詩歌的理解，也能透露出詩歌文化語境的諸多信息。作為文學研究者，我們需要知道在消逝的歷史文明中詩歌存在的真實狀態，以及整個社會文化結構中人與詩歌、詩歌與社會之間的關聯。不知此，就無法真正理解中國詩歌的本質，也就無法對中國詩歌古今演變有深入的思考。本文通過古今詩歌總集編選的解析，試圖清晰地展示出詩歌文化語境複雜而立體的影像。
本文分為兩個部分：“上編”以古典詩歌總集的縱向梳理為主。主要揭示新詩總集產生之前各個不同歷史階段詩歌文化語境的特徵。先秦兩漢是“《詩經》的時代”，中國詩歌總集編纂剛剛開始，總集編選的諸多要素有了初步的展現。其中最重要的一點就是《詩經》中“風”、“頌”的劃分對漢代詩歌總集編纂的影響，詩歌文化語境中充斥著政教和娛神的色彩。魏至隋是注重詩體和娛人的時期，此時的總集編纂從先前對政教和神的關注轉向對詩歌藝術本身和人的世俗生活的關注，這是一個承上啟下的階段。隋唐至宋元，中國古典詩歌總集發展成熟。唐人以極具自信的心態用總集編選詮釋“風雅"的內涵，並用個性化的編選體例多維度地呈現唐詩的輝煌。在唐人的總集編選中，我們看到了詩歌全面進入到唐代文人的生活：詩歌可用來酬唱送別，展現詩意的生活，甚至還可以擔負起家族文明的傳承。宋人的心態是博大而內省的，其總集編選也表現出不同於唐人的特點。宋代文人對一時一地的詩歌結集有濃厚的興趣，在宋人眼裡，地域是經、史、子、集構築的空間，他們將史學精神貫穿於地域詩歌總集的編纂，將唐代的自然地理上升為人文地理。此外，宋代文人進士階層還將“文雅”和“雅正”的精神氣質注入編選，目光所及側重於文人書齋生活的細節和道德精神的力量。在宋人的編選中還用結集的方式呈現詩派、確立詩學準則、進行詩歌教育，這是開啟後代的編選。明清兩代是中國封建文化的總結和新變期，詩歌總集和古典詩學也同樣有待總結。大量“求全”、“求備”型總集在此時集中出現了，編者自覺運用文獻輯佚的方法，對詩歌、詩人作網羅一空式的匯集，這是對斷代或通代詩歌創作成就的總結；同時這個時期的總集編纂也在編選體制、審美風格、編選體例等維度全面擴充，這也是對總集自身的總結。在中國封建文化末期，中國文化內部也孕育著新變的因素，明清兩代的詩歌總集和詩歌創作中開始關注女性、兒童、歌謠、域外，這些都成為五四新文化運動的先兆。在古典詩歌總集的縱向梳理中，我們看到了詩歌文化語境的變遷，具體來講有三點：第一，中國文學由政教本位、娛神本位向娛人本位、文學本位的過渡；第二，文化主體從貴族到精英，再到平民的過渡；第三，中國詩學從單一的國內語境到國際語境的過渡。
1920年，中國第一部新詩總集《新詩集》誕生了。從此，中國詩歌編選進入到了古典、新詩總集編選的“共存期”，這是本文“下編”論述的範圍。“共存期”的詩歌總集編纂往往被古代文學和現當代文學的研究者忽視。這個時期，古典詩歌總集編纂和新詩總集編纂都各有特色。就1920至1949年階段古典總集編選而言，它注重對前代經典總集的重新演繹，注重內容類目的劃分，注重詩歌、詩人的地域，還關注酬唱類和詩社單位的結集，在延續傳統的時候表現出了新時代特點。而此時的新詩總集則處於“嘗試”的階段，它從傳統總集中繼承了類目的劃分、對詩人特徵的分析、以及按詩社單位的編纂。相對古典總集而言，新詩總集編纂中酬唱類、氏族類、蒙童類不再成為編者關注的重點，新詩與現代人的生活愈去愈遠、新詩尚未擔負起家族文明的傳承、傳統的詩教精神也在新詩教育中不復存在。在悲觀之餘，我們也看到了漫畫類、網路類、中西合選類新詩總集大量出現，新詩與新型繪畫、新型傳媒、西方詩歌等有了緊密的聯繫，這是新詩存在的境遇，也是新詩發展的機遇。新文化運動的悖論、新詩合法性的爭論、現代性土壤的單薄也決定了古典詩歌和新詩、古典詩歌總集和新詩總集必將長期共存。“共存期“中，古典、新詩總集也表現出趨同性的特徵，這是因為二者處於相同的文化語境中。以1920—1949年為例，“提倡白話”、“崇尚愛情”、“民族危亡”、“小說興起”同時作用於這個時期的詩歌創作和總集編纂。“共存期”還是一個共時性的平台。在這裡我們可以對古、今詩歌總集作橫向的比對。在對古典詩歌總集《瀛奎律髓》和現代新詩總集《20世紀中國新詩分類鑑賞大系》的類目比較中，我們清晰地看到了古典詩歌和新詩涉入生活領域的異同；並在古今總集類目的梳理中看到了詩歌語境中人與世界關係的調整、傳統秩序的解體、以及詩性生活的隱退。
1920年，中國第一部新詩總集《新詩集》誕生了。從此，中國詩歌編選進入到了古典、新詩總集編選的“共存期”，這是本文“下編”論述的範圍。“共存期”的詩歌總集編纂往往被古代文學和現當代文學的研究者忽視。這個時期，古典詩歌總集編纂和新詩總集編纂都各有特色。就1920至1949年階段古典總集編選而言，它注重對前代經典總集的重新演繹，注重內容類目的劃分，注重詩歌、詩人的地域，還關注酬唱類和詩社單位的結集，在延續傳統的時候表現出了新時代特點。而此時的新詩總集則處於“嘗試”的階段，它從傳統總集中繼承了類目的劃分、對詩人特徵的分析、以及按詩社單位的編纂。相對古典總集而言，新詩總集編纂中酬唱類、氏族類、蒙童類不再成為編者關注的重點，新詩與現代人的生活愈去愈遠、新詩尚未擔負起家族文明的傳承、傳統的詩教精神也在新詩教育中不復存在。在悲觀之餘，我們也看到了漫畫類、網路類、中西合選類新詩總集大量出現，新詩與新型繪畫、新型傳媒、西方詩歌等有了緊密的聯繫，這是新詩存在的境遇，也是新詩發展的機遇。新文化運動的悖論、新詩合法性的爭論、現代性土壤的單薄也決定了古典詩歌和新詩、古典詩歌總集和新詩總集必將長期共存。“共存期“中，古典、新詩總集也表現出趨同性的特徵，這是因為二者處於相同的文化語境中。以1920—1949年為例，“提倡白話”、“崇尚愛情”、“民族危亡”、“小說興起”同時作用於這個時期的詩歌創作和總集編纂。“共存期”還是一個共時性的平台。在這裡我們可以對古、今詩歌總集作橫向的比對。在對古典詩歌總集《瀛奎律髓》和現代新詩總集《20世紀中國新詩分類鑑賞大系》的類目比較中，我們清晰地看到了古典詩歌和新詩涉入生活領域的異同；並在古今總集類目的梳理中看到了詩歌語境中人與世界關係的調整、傳統秩序的解體、以及詩性生活的隱退。
外文摘要
Compiling poetry anthology is a kind of socio-cultural behavior influenced by various and complex factors. Those factors include the forms, styles, and themes of the poems; the cultural levels, life experiences, literary interests, and politic tendency of compliers and readers; even cultural customs of the entire society. It can be said that the compiling of general poetry anthology is the result of the interactions of poetry, compliers, readers, and socio-cultural influences. The poetry antho
Compiling poetry anthology is a kind of socio-cultural behavior influenced by various and complex factors. Those factors include the forms, styles, and themes of the poems; the cultural levels, life experiences, literary interests, and politic tendency of compliers and readers; even cultural customs of the entire society. It can be said that the compiling of general poetry anthology is the result of the interactions of poetry, compliers, readers, and socio-cultural influences. The poetry anthology is a window to better understand the poetries and the ages. It is an indispensible content in poetry study. It reflects people''s understanding of poetry in specific period, and also reveals numerous information of cultural context of poetry. As literary researchers, we need to be clear about the true situation of exists of poetries in the fading history of civilization, and the association between men and poetry, poetry and society among the socio-cultural structures. It is the only way to better realize the essence of Chinese poetry and explore the evolution of ancient and modern Chinese poetry in depth. Based on the analysis of the compilations of ancient and modern Chinese poetry, this dissertation tries to clearly lay out the complex and tridimensional image in cultural context of poetry. The full text divided into two parts.
The first part mainly focuses on teasing the classical poetry anthology in time series and states out the characters of cultural context of poetry in various historical stages before the emergence of new collection of poetry. It was the age of book of songs and the beginning of compiling the poetry anthology in Qin-Han Dynasties. Thus, those constitutions of compiling presented for the first time. The most important one is that the partition of Feng and Song in book of songs had impacted the compiling of the poetry anthology in Han Dynasty, and there were full of Politics-religion and Entertaining God in cultural context of poetry. It was the period of entertainment in Wei and Sui Dynasties. The attention of compilation shifted from former Politics-religion and Entertaining God to poetry itself and people''s living custom. It was a connecting link between the preceding and the following. Chinese classical poetry made a mature development from Sui-Tang to Song-Yuan Dynasties. Literati in Tang Dynasty were confident in interpreting connotation of Feng and Ya through compilation of collections, and multidimensional presented the refulgence of Tang Poems in individual compiling styles. According to the compilation, it indicates that poetry fully entered into the daily life of literati in Tang Dynasty. Poetry could be used to send off the guests and decorated a poetic living. What''s more, the poetry could even take the responsibility in revitalizing family. The compilation of collections shows different characters from literati of Song to those of Tang. Literati manifested great interests in collection of poems especially those of time-space aspect in Song Dynasty. They believed that region was the emerging field of classical works, history works, philosophical works, and belles-lettres of the four traditional divisions of Chinese library. They compiled the regional poetry anthology based on the thought of historiography, and transformed the physical geography into human geography in Tang Dynasty. Furthermore, literati and scholars permeated the temperament of urbanity and decorum in the compilation, and toke high light in details of study and strength of moral situation. In a way of collecting the anthology, literati of Song Dynasty presented the faction of poetry, established the principle of poetics, and taught poetry. It was the beginning of the following compilation. General poetry anthology and classical poetics had been waiting for the conclusion since it was a period of summarization and transformation in Chinese feudal culture during Ming and Qing Dynasties. Thus, numerous complete and perfect general collections emerged intensively. The editors totally gathered the poetries and poets consciously using the document methods. This was a summarization of the achievement of dynastic or general poetry works. At the same time, the compiling system and aesthetic style of general compilation were totally expanded, which was also a summarization of general compilation itself. The inside of Chinese culture gestated new factors at the end of Chinese feudal culture. The collections and works of poetries gradually pay attention to women, children, ballad, and outside world, which finally became the precursors of May 4〓 movement. The evolution of cultural context of poetry has emerged during the course of teasing the classical poetry anthology in time series. Basically, there had been three evolutions. Firstly, Chinese literature transited from Politics-religion and Entertaining God to entertaining human beings and literature. Secondly, the main body of culture shifted from nobles to elites, and finally civilians. Thirdly, Chinese poetic developed from domestic context into international one.
In 1920, China''s first poetry collection, New Poetry Anthology, was bom. Since then, Chinese poetry compile came into a coexistent period of the compilation of classical and new poetry collection, which is the content of the next part in the text. General compilations of poetry of coexistent period are often ignored by researchers of ancient, modern and contemporary literatures. During this period, each Chinese general compilation of classical and new poetry collection has its own character. For the classical general compilation during the year of 1920-1949, it not only focused on the re-interpretation of the previous generation classic collection, the division of content categories, the region of the poetry and the poet, but also concerned about the collecting of communicating poetry and the compiling of poetry society unit, which performed the new features of the times while continued the traditional. But, in this period, the new poetry general collection was in the stage of "Trying". It inherited the compilation method from the traditional poetry collection of the category division, the analysis of poetry character, and the codification according to the poetry society unit. Compare with the classical poetry collection, the compilation of general new poetry collection no longer focus on the communicating poetry, sib poetry, and children educational poetry, and it is far away form the modern life. The new poetry hasn''t yet took up the heritage of family civilization, the traditional poems education spirit had already disappeared from the education of new poetry. However, a great deal of new poetry anthologies emerged in comic, internet, and western and Chinese collections. New poems have closely linked to new painting, media and western poetry, which supplied an opportunity for the existence and development of new poems. The paradox of New Culture Movement, the valid controversy of new poems, and unsteadiness grounding of modernity determined that classical poetry and new poems, classical poetry anthology and new poem anthology will be coexist in long time. During the coexistent period, classical poetry and new poetry anthology tend to convergence, because they were in the same cultural context. In the case of the year 1920-1949, advocating vernacular, pursuing love, nation peril, and rising of novels all acted on creation of poetry and compiling of poetry anthology. The coexistence period was also a synchronic flat roof, where we can make transvers comparison on classical poetry and modern one. In comparing the category of Ying Kui Lv Sui, a classical poetry anthology, and Appreciation Class of Chinese New Poems in 20〓 Century, a modern new poetry anthology, it clearly indicates the difference between classical poetry and new poems when they were involved in living experiences. What''s more, it shows the adjustment of the men and the world, the breaking up of conventional order, and the receding of poetry life according to the poetry context.
Key words: the Evolution of Ancient and Modern Chinese Literature, poetry anthology, classical poetry, new poems, cultural context
The first part mainly focuses on teasing the classical poetry anthology in time series and states out the characters of cultural context of poetry in various historical stages before the emergence of new collection of poetry. It was the age of book of songs and the beginning of compiling the poetry anthology in Qin-Han Dynasties. Thus, those constitutions of compiling presented for the first time. The most important one is that the partition of Feng and Song in book of songs had impacted the compiling of the poetry anthology in Han Dynasty, and there were full of Politics-religion and Entertaining God in cultural context of poetry. It was the period of entertainment in Wei and Sui Dynasties. The attention of compilation shifted from former Politics-religion and Entertaining God to poetry itself and people''s living custom. It was a connecting link between the preceding and the following. Chinese classical poetry made a mature development from Sui-Tang to Song-Yuan Dynasties. Literati in Tang Dynasty were confident in interpreting connotation of Feng and Ya through compilation of collections, and multidimensional presented the refulgence of Tang Poems in individual compiling styles. According to the compilation, it indicates that poetry fully entered into the daily life of literati in Tang Dynasty. Poetry could be used to send off the guests and decorated a poetic living. What''s more, the poetry could even take the responsibility in revitalizing family. The compilation of collections shows different characters from literati of Song to those of Tang. Literati manifested great interests in collection of poems especially those of time-space aspect in Song Dynasty. They believed that region was the emerging field of classical works, history works, philosophical works, and belles-lettres of the four traditional divisions of Chinese library. They compiled the regional poetry anthology based on the thought of historiography, and transformed the physical geography into human geography in Tang Dynasty. Furthermore, literati and scholars permeated the temperament of urbanity and decorum in the compilation, and toke high light in details of study and strength of moral situation. In a way of collecting the anthology, literati of Song Dynasty presented the faction of poetry, established the principle of poetics, and taught poetry. It was the beginning of the following compilation. General poetry anthology and classical poetics had been waiting for the conclusion since it was a period of summarization and transformation in Chinese feudal culture during Ming and Qing Dynasties. Thus, numerous complete and perfect general collections emerged intensively. The editors totally gathered the poetries and poets consciously using the document methods. This was a summarization of the achievement of dynastic or general poetry works. At the same time, the compiling system and aesthetic style of general compilation were totally expanded, which was also a summarization of general compilation itself. The inside of Chinese culture gestated new factors at the end of Chinese feudal culture. The collections and works of poetries gradually pay attention to women, children, ballad, and outside world, which finally became the precursors of May 4〓 movement. The evolution of cultural context of poetry has emerged during the course of teasing the classical poetry anthology in time series. Basically, there had been three evolutions. Firstly, Chinese literature transited from Politics-religion and Entertaining God to entertaining human beings and literature. Secondly, the main body of culture shifted from nobles to elites, and finally civilians. Thirdly, Chinese poetic developed from domestic context into international one.
In 1920, China''s first poetry collection, New Poetry Anthology, was bom. Since then, Chinese poetry compile came into a coexistent period of the compilation of classical and new poetry collection, which is the content of the next part in the text. General compilations of poetry of coexistent period are often ignored by researchers of ancient, modern and contemporary literatures. During this period, each Chinese general compilation of classical and new poetry collection has its own character. For the classical general compilation during the year of 1920-1949, it not only focused on the re-interpretation of the previous generation classic collection, the division of content categories, the region of the poetry and the poet, but also concerned about the collecting of communicating poetry and the compiling of poetry society unit, which performed the new features of the times while continued the traditional. But, in this period, the new poetry general collection was in the stage of "Trying". It inherited the compilation method from the traditional poetry collection of the category division, the analysis of poetry character, and the codification according to the poetry society unit. Compare with the classical poetry collection, the compilation of general new poetry collection no longer focus on the communicating poetry, sib poetry, and children educational poetry, and it is far away form the modern life. The new poetry hasn''t yet took up the heritage of family civilization, the traditional poems education spirit had already disappeared from the education of new poetry. However, a great deal of new poetry anthologies emerged in comic, internet, and western and Chinese collections. New poems have closely linked to new painting, media and western poetry, which supplied an opportunity for the existence and development of new poems. The paradox of New Culture Movement, the valid controversy of new poems, and unsteadiness grounding of modernity determined that classical poetry and new poems, classical poetry anthology and new poem anthology will be coexist in long time. During the coexistent period, classical poetry and new poetry anthology tend to convergence, because they were in the same cultural context. In the case of the year 1920-1949, advocating vernacular, pursuing love, nation peril, and rising of novels all acted on creation of poetry and compiling of poetry anthology. The coexistence period was also a synchronic flat roof, where we can make transvers comparison on classical poetry and modern one. In comparing the category of Ying Kui Lv Sui, a classical poetry anthology, and Appreciation Class of Chinese New Poems in 20〓 Century, a modern new poetry anthology, it clearly indicates the difference between classical poetry and new poems when they were involved in living experiences. What''s more, it shows the adjustment of the men and the world, the breaking up of conventional order, and the receding of poetry life according to the poetry context.
Key words: the Evolution of Ancient and Modern Chinese Literature, poetry anthology, classical poetry, new poems, cultural context
