苏曼殊文化取向析论  

An Analysis of Su Manshu’s Cultural Orientation

作　　者：敖光旭[1] 

机构地区：[1]中山大学近代中国研究中心副教授,广州510275

出　　处：《历史研究》2010年第5期98-118,共21页Historical Research

基　　金：教育部哲学社会科学重大攻关项目(项目号05JZD00011);中山大学211工程第3期的部分研究成果

摘　　要：苏曼殊浪漫主义不是西学东渐的直接产物,而是固有文化生态发生结构变动之结果。国粹主义和遗民情结,佛学之境界及悲剧精神,构成其早期浪漫主义的内核与独特范式。苏曼殊浪漫主义虽具抵抗现代性倾向,但内涵、特质却与西洋主流浪漫主义迥异。他对欧洲浪漫主义之了解零散而不系统,而与"能诠慧学(佛学)"之德国诸师多有契合。文化民族主义及文化三界观,与其浪漫主义互为表里。欧洲浪漫主义与本土民族主义之交汇,形成清末民初独特的文化保守主义体系。苏曼殊的文化取向,始终处于由晚清国粹派至东方文化派的思想链条中,具有新人文主义的明显特征。The formation of Su Manshu’s romantic style was not the direct result of the eastward spread of Western learning but was the natural outcome of structural change in China’s innate cultural ecosystem. The quintessence of Chinese culture, the sense of being a remnant of a past era, the Buddhist spiritual realm and the tragic spirit—all these formed the core of Su’s early romantic style and his unique paradigm. Although both tended to resist modernity, the content and characteristics of Su Manshu’s romanticism are quite different from mainstream Western romanticism. His knowledge of European romanticism was scattered and unsystematic, and his thinking tallied more closely with those German masters who 'could interpret Buddhism.' His idea of the three realms (trayo dhatavah/三界) and cultural nationalism were complementary elements of his romanticism. It was the interaction between the European romanticism and indigenous nationalism that shaped the unique phenomenon of late Qing and early Republican cultural conservatism. Shu’s cultural orientation, never sundered from the National Essence School or the Oriental Culture School, is clearly marked by the new humanism.

关 键 词：苏曼殊 文化路向 浪漫主义 保守主义 

分 类 号：G122[文化科学]