“跨文本”诗学与黄庭坚的“换骨夺胎法”  

Poetics of Transtextuality and Huang Tingjian’s Ars Poctica of“Snatching the Embryo and Transforming One’s Bones”

作　　者：张汉良 CHANG Hanliang(Comparative Literature and World Literature,Shanghai Normal University,Shanghai 200234;Department of Foreign Languages and Literatures,Taiwan University,Taipei,Taiwan 10617)

机构地区：[1]上海师范大学,上海200234 [2]台湾大学外国语文学系,中国台湾台北10617

出　　处：《中国文学研究》2022年第4期29-33,共5页Research of Chinese Literature

摘　　要：“跨文本”术语出自当代法国文论家惹内特1980年代的著作。惹内特融合了文本论同行如克莉斯特娃等人的理论,以及作者本人前后的类似概念及用语,提出一套涵盖面更广大的,关于“文本生成”的分析工具。本文拟援用此概念,重新检视北宋黄庭坚著名的“换骨夺胎”诗法,进而将之纳入现代诗学所关注的文本生成现象。在论述过程中,笔者将点评西方传统之文艺“模仿”说,以及晚近取代影响研究的“文本衍生”理论,但出发点与回归点仍然为我国传统固有的、以黄庭坚为代表的“诗法”实践论。The term“transtextualité[transtextuality]”was coined by French critic Gérard Genette in the early 1980s.It grew out of Julia Kristeva’s“intertextualité”and represents Genette’s attempt in amalgamating similar ideas,including his own,to supply a more comprehensive analytical tool to account for the phenomenon of textual genesis.The paper appropriates this critical apparatus to examine Huang Tingjian’s celebrated ars poetica of“snatching the embryo and transforming one’s bones”in the Northern Song Dynasty.It aims to recontextualize Huang’s practice by bringing it into rapport with contemporary theory of metatextualization.The present writer briefly reviews how the Western concept of mimesis has been rendered obsolete and influence studies replaced by current interest in textual practice.Nevertheless,the paper’s ultimate concern lies in reinstating traditional Chinese critical discourse in the global context.

关 键 词：郭绍虞 黄庭坚 惹内特 跨文本 诗法 文本生成机制 

分 类 号：I052[文学—文学理论]