音乐观念的政教承载与文学承继——以“亡国之音”的观念生成与历史演变为中心  

A Discussion on the Musical Concept——How to Load the Political Indoctrination and Inherit the Literature

作　　者：徐宝余[1] 

机构地区：[1]韩国全南大学中文系,500757

出　　处：《上海师范大学学报（哲学社会科学版）》2012年第5期119-128,共10页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

摘　　要："亡国之音",作为儒家音乐理论中的一个否定性术语,体现了儒家对于音乐的伦理道德的审视。这一审视,随着礼乐文化由政治波及到社会生活的各个领域,也附着到了人德、政德、文德等诸多方面。由乐衰而国亡,这在儒家理论中向来受到充分的重视,并在乐论、史论、政论等领域中不断得到丰富和发展;诗乐、诗教的早期形态也使得后来的文学批评承继了"亡国之音"的意义内涵,并且随着这一术语在文学领域内的实际运用,其性质由倡导风雅正变的政教批判用语,而转化为抒写悲情乃至家国沦亡之痛的一种文学表达。"亡国之音"由乐教领域内的否定性术语渐渐蜕变为文学领域内的肯定性术语。Music of national ruin, as the negative term of Confucian music concept, embodies ethical and moral views of Confucianists. It influences many fields, such as human morality, political morality and literary morality, with the Confucian courtesy and music culture spilling over into the various branches. A theory on music causing national ruin has being received scrutiny, constantly enriched and developed in the fields of music and history and politic theories. The early form of poem and poem teaching leads the literary criticism inherit the music of national ruin connotation. With being used in the literary for long, the term as political indoctrination was translated into the literary term, from especial sadness to subjugated distress. Music of national ruin, as a negative term, was gradually turned to be a positive term.

关 键 词：亡国之音 政教 乐论 诗论 

分 类 号：I206.09[文学—中国文学]