明代文艺启蒙的三次冲击波  

The Three Waves of Literary Enlightenment in the Ming Dynasty

作　　者：许苏民[1] 许广民[2] 

机构地区：[1]南京大学,南京210093 [2]江苏广播电视大学,南京210036

出　　处：《云南大学学报（社会科学版）》2008年第6期60-69,共10页The Journal of Yunnan University:Social Sciences Edition

基　　金：教育部哲学社会科学研究重大课题攻关项目"现代启蒙思潮与百年中国文学"(项目批准号:05JZD00027)之阶段性研究成果

摘　　要：中国的文艺启蒙,始于16世纪初的明代中叶。自此而迄于17世纪中期,形成了三次强有力的冲击波。第一波以祝允明、唐寅等"吴中四才子"和李梦阳、何景明等"前七子"为代表,反对程朱理学之"理"对文艺创作之"情"的束缚,凸显了文艺创作的"情感—审美"特质;第二波以归有光、徐渭等人为代表,标举"天下之至情",凸显了"真我为体,觉灵为用"的创作主体意识;第三波以李贽、汤显祖、袁宏道、冯梦龙等人为代表,以"童心说"的新理性主义文艺思想为旗帜,凸显了"人即是诗,诗即是人"这一文艺启蒙的本质特征和灵魂。文艺启蒙极大地解放了作家的思想和创造力,使晚明文坛呈现出空前繁荣的局面。The literary enlightenment of China started in the 16th century(the middle Ming Dynasty) and ended in the 17th century with three waves.The first wave was headed by such scholars as Zhu Yunming,Tang Yin,Li Mengyang and He Jingming who opposed to Cheng-Zhu′s Neo-Confucianism whose rationality they thought hindered the expression of 'emotion' and it showed the features of 'emotion-aesthetics' in literary creation.The second wave was ushered in by such scholars as Gui Youguang and Xu Wei who advocated the expression of true feeling and inspiration in literary creation.The third wave was headed by Li Zhi,Tang Xian-zu,Yuan Hongdao and Feng Menglong who advocated Neo-rationalism and 'man is poetry and poetry is man' as the basic feature and soul of literary enlightenment.This literary enlightenment helped liberate the writers′ minds and promoted literary creation,and as a result the literary creation in the late Ming Dynasty enjoyed unprecedented prosperity.

关 键 词：文艺启蒙 真诗 真我 人/诗 

分 类 号：I206.2[文学—中国文学]