黄昏后的偶像:再论“《选》学”与“桐城”——兼评周唯一《南朝学术文化与〈文选〉》  

Idol after Dust:Re-exploration on “Anthology” Learning and “Tong Cheng”——And comment on Zhou Wei-yi's Academic Culture in Southern Dynasty and Anthology

作　　者：萧晓阳[1] 陈正博[1] 

机构地区：[1]中南民族大学文学与新闻传播学院,湖北武汉430074

出　　处：《衡阳师范学院学报》2017年第4期163-165,共3页Journal of Hengyang Normal University

基　　金：国家社会科学基金项目"<桐城文学渊源考>补正"(16BFX038)阶段性成果

摘　　要：《文选》之文与桐城古文作为古典文化的象征符号,近百年来经历了批判、沉寂与复兴三个阶段。"五四"抨击"妖孽"与"谬种",有矫枉过正之嫌;当代数十年间几无人问津,是将古典文化视为禁区的必然选择;新时期以来,桐城文化研究成果丰硕,骆鸿凯《文选学》、穆克宏《昭明文选研究》、周唯一《南朝学术文化与〈文选〉》在《选》学领域也各有独特的意义。As the symbol of the classical culture, the Anthology and Tong Cheng ancient prose have experienced three stages of criticism, silence and revival in nearly one hundred years. The May Fourth Movement attacked ＂evildoer＂ and ＂fallacy＂ and has a little bit of overcorrect. In the decade years of contemporary, nearly nobody shows any interest in it. And it is the inevitable choice to take the classical culture as the forbidden region. Since the new era, Tong Cheng culture research has got fruitful results and Luo Hong-kai＇s Anthology Learning, Mu Ke-hong＇s Lighting Anthology Research and Zhou Wei-yi＇s Academic Culture in Southern Dynasty and Anthology also has unique meaning in the field of Anthology learning.

关 键 词：选学 桐城 文史研究 学术文化 

分 类 号：G0[文化科学]