dc.contributor.author曲景毅 Qu, Jingyi
dc.date.accessioned2016-09-30T04:12:27Z
dc.date.available2016-09-30T04:12:27Z
dc.date.issued2013
dc.identifier.citationQu, J. (2013). “大手笔”作家视域下的唐文演进论 Theoretical Evolution of Tang Prose in the Perspective of “Dashoubi” Prose Writers, 师范大学《古代文学理论研究》 Studies of Classical Literary Theory, 36, 54-67.en_US
dc.identifier.urihttp://hdl.handle.net/10220/41511
dc.description.abstract“文章”一词,宽泛一点理解可以代指所有古代文字,但我们今天要探讨的文章限定在与诗对应的文章(prose)范畴。古代文章的分类有许多种,区分古文(散文)与时文(骈文),纯文学观念下的文章与杂文学观念下的文章,在具体讨论唐代文章的演进时十分重要。 1、从文、笔之分到骈、散之争。魏晋以降,骈体文逐渐成为新兴文体并占据了文坛的主导地位,文学重抒情与文采的特质被认识,反映到文学观念上来说,就是“文、笔之分”。刘勰《文心雕龙·总术》云:“今之常言,有文有笔,以为无韵者笔也,有韵者文也。”萧绎《金楼子·立言》云:“古之学者有二,今之学者有四。”盖汉代有“文学”与“文章”之分,即所谓的“古之学者有二”,后由“文学”中分出“儒”与“学”、由“文章”中分出“文”与“笔”,即所谓“今之学者有四”。“文”、“笔”是“文章”的再区分。《金楼子·立言》又云:“至如不便为诗如纂,善为章奏如伯松,若此之流,泛谓之笔。吟咏风谣,流连哀思者,谓之文。……笔退则非谓成篇,进则不云取义,神其惠巧,笔端而已。至如文者,惟须绮縠纷披,宫徵靡曼,唇吻遒会,情灵摇荡。”1萧绎将有无抒情与辞采当作文笔之分的标准,一般的应用文为笔,有辞采、重抒情、富于声韵之美者则为文2,并表现出明显的“重文轻笔”倾向。由文笔之分引逗出所谓骈散之争,最初“文”多数为骈文作成,“笔”多为散文写就,前述萧绎的“重文轻笔”思想在当时很有代表性,其结果是造成整个社会的尚骈轻散,从而使得笔类文章也纷纷采用骈体形式,骈体文由此大行其道,至南北朝发展至极致,尤其是以任昉、沈约、徐陵、庾信为代表的南朝应用文,几乎全用骈体撰写,讲究对偶、辞采、声律、用典3。西魏尚书苏绰曾感叹en_US
dc.format.extent10 p.en_US
dc.language.isozhen_US
dc.relation.ispartofseriesStudies of Classical Literary Theoryen_US
dc.rights© 2013 East China Normal University Press, PRC. This is the author created version of a work that has been peer reviewed and accepted for publication by Studies of Classical Literary Theory, East China Normal University Press. It incorporates referee’s comments but changes resulting from the publishing process, such as copyediting, structural formatting, may not be reflected in this document.en_US
dc.title“大手笔”作家视域下的唐文演进论 = Theoretical evolution of Tang prose in the perspective of “Dashoubi” prose writersen_US
dc.typeJournal Article
dc.contributor.schoolSchool of Humanities and Social Sciencesen_US
dc.description.versionAccepted versionen_US


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