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作 者:向云 陈文新[1] XIANG Yun;CHEN Wenxin(Wuhan University,Wuhan 430072,China)
出 处:《天中学刊》2023年第1期102-110,共9页Journal of Tianzhong
基 金:国家社科基金重大招标项目(17ZDA243)。
摘 要:作为明代重要的散文流派,唐宋派进入本土学者的中国文学通史始于1904年。清末民初,传统学术观居于主导地位,文学史中的唐宋派叙述与《明史·艺文志》《四库全书总目提要》大体相近。“五四”以后,纯文学观、进化史观确立了其主导地位,唐宋派叙述被纳入复古与革新相互对峙的框架,唐顺之的“本色论”和归有光的日常生活散文受到极大关注;与七子派相较,唐宋派是换了另一种旗帜的复古还是开启了文坛的新气象,也成为关注焦点。1938年后,叙述基调渐趋一致,刘大杰《中国文学发展史》作为“五四”以来具有总结性意义的著述,对20世纪中叶的中国文学史统编教材具有示范作用。As an important prose school in the Ming Dynasty, the Tang-song School entered the general history of Chinese literature in 1904. In the Late Qing and Early Republic of China, the traditional academic view was in the dominant position, and the narration of Tang-song School was roughly similar to that of the Yiwenzhi of Ming History and the Resumes of Si Ku Quan Shu. After the May 4thMovement(in 1919), the pure literature view and the evolutionary view established their dominant position. The narration of Tang-song School was brought into the confrontational framework between retro and innovation. TANG Shunzhi’s “natural color theory” and GUI Youguang’s prose on daily life received great attention. Compared with the Seven-Scholar School, the Tang-song School changed its banner to a new style or created a new atmosphere in the literary, which also became a focus of attention. After 1938, the narrative tone gradually became consistent. LIU Dajie’s “History of the Development of Chinese Literature”, as a conclusion work since the May 4thMovement, played an exemplary role in compiling the unified textbook of Chinese literary history of the middle of the 20thcentury.
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