王勃文心研究的历史审视与本土维度--以《滕王阁序》为例  

Historical Reflection and Local Perspective on WANG Bo's Motivation for Writing Research--Take the Hymn to Pavilion of Prince Teng as an Example

作　　者：裴媛媛[1] PEI Yuan-yuan(Faculty of Arts,Zaozhuang University,Zaozhuang 277160,China)

机构地区：[1]枣庄学院文学院,山东枣庄277160

出　　处：《枣庄学院学报》2020年第3期19-25,共7页Journal of Zaozhuang University

基　　金：山东省社会科学规划基金项目“何乔遴《纪愚录》整理与研究”(项目编号:18CWTJ05)的阶段性成果。

摘　　要：王勃的文学思想在理论上主张反对六朝文风,提倡刚健骨气,但在实际创作上,其作品却依然深受齐梁文风的影响,这种理论与作品之间的矛盾关系在中国文学发展史上具有一定的普遍性。其原因不在王勃的文论与作品自身,而是后人审视这一现象的理论前提有问题。文学理论与文学创作的二元关系是在现代西方学术主客二分思维模式下建构起来的,两者之间既没有对立关系,也不应僵化其指导与被指导的主客体关系。文学创作的唯一依据只能是作者之用心,亦即文心也。以“文心”为切入点,可以为王勃研究提供一种新的本土维度。In theory,WANG Bo's literary thought advocated against the style of literature in the Six Dynasties and advocated vigorous spirit,but in practice,his works were still deeply influenced by the style of literature in Qi and Liang dynasties.The contradiction between the theory and the works has certain universality in the history of Chinese literature development.The reason lies not in literary theory and works themselves,but in the theoretical premise of examining this phenomenon.The dualistic space of literary theory and literary creation is a knowledge system constructed in the modern western academic context.There is neither opposition between the two nor subject-object relationship.The only basis of literary creation just is the author's intention,that is,the heart of writing.To explore WANG Bo's motivition for writing,we can find that the relationship between his literary theory and writing is not contradictory,but consistent.

关 键 词：王勃 文论 文心 《滕王阁序》 

分 类 号：I206.2[文学—中国文学]