走向审美之境:刘大櫆与桐城散文学的转向  

Towards Aesthetic Realm: Liu Dakui and Tendency of Tongcheng Prose

作　　者：罗书华[1] 

机构地区：[1]复旦大学中国语言文学系,上海200433

出　　处：《安徽师范大学学报（社会科学版）》2012年第4期397-403,共7页Journal of Anhui Normal University(Hum.&Soc.Sci.)

基　　金：教育部人文社会科学重点研究基地重大项目(01JAZJD750.11-4404)

摘　　要：作为桐城三祖之一,刘大櫆上继方苞的义法说,文道皆论,而重心落脚于文的一边。他将文章分为行文与行文之实两层,并将义理、书卷、经济降格为材料,将文学提升为能事,尤其突出神气音节的地位,将方苞的义法引向了文学审美一端,为姚鼐的义理考据文章说及神理气味格律声色说奠定了基础,是桐城派文论体系中不可缺少的重要一环,在中国散文学史上也有重要地位。As one of the three representatives of the Tongcheng School, Liu Dakui inherited Fangbao＇s Yifa theory, which stated both literature and Dao, but placed more emphasis on literature. He divided literature into two aspects： writing and the material. Besides, he degraded argumentation, texts and economy to ma-terials, upgraded literature to advantage, especially the position of syllables, thus directing Fangbao＇s Yifa theory to aesthetic literature and laying the groundwork for Yaonai＇s argumentation theory and syllable the-ory. It was an indispensable component of Tongcheng School literary theory and held a quite significant po- sition in the history of Chinese prose.

关 键 词：刘大櫆 行文 行文之实 文人之能事 神气音节 审美 桐城派 

分 类 号：I056[文学—文学理论]