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作 者:汤志波[1] Tang Zhibo(the Department of Chinese Language and Literature,East China Normal University)
出 处:《文艺理论研究》2024年第5期160-169,共10页Theoretical Studies in Literature and Art
基 金:贵州省哲学社会科学规划国学单列一般课题“明别集编刻、传播与整理研究”[课题编号:22GZGX07]阶段性成果。
摘 要:明清时期“小品”作为集部的书名,可以指诗集、文集、诗文集并称乃至选本、别本;用作文学批评术语,则指游戏之作,或是变格、变体的代称;作为丛书则可以囊括经史子集四部。自魏晋至明清,小品的文体逐步扩张,可以包括诗、词、曲、文、小说等多种,但罕用“小品文”一词,而是用“小品文字”替代。民国间流行的“小品文”概念,起始文体并不明晰,与“散文诗”界限模糊。作为英语essay或sketch等词的译文,同时受到日本汉字直接移入的影响,翻译语境中的“小品文”与“小品”混用,显示出西方文论影响下的文体自觉。周作人等建构的“晚明小品”概念,将小品文的代表作者指向公安、竟陵派,取代了《四库全书总目》中以陈继儒为代表的“明季小品”,在其影响下出现的散文创作热潮及众多晚明小品选本出版,进一步固化了小品的文体特征与时代属性。During the Ming and Qing dynasties,the term xiaopin(sketches),encompassed various collections of poems,essays,or even selected works and anthologies as categorized in the Four Treasuries.In literary criticism,it referred to works created for entertainment or as variations in style or form.As book series,it covered the entire scope of the Four Treasuries.From the Wei and Jin dynasties to the Ming and Qing dynasties,the genre of xiaopin gradually expanded to include poetry,ci-poetry,qu-poetry,essays and fiction.However,the term xiaopin wenzi(sketch writings)was used more frequently than xiaopin wen(sketch prose).The concept of xiaopin wen as prevailed during the Republican period was initially unclear,and its distinction from the“prose poem”was often blurred.As a translation of the English terms“essay”or“sketch,”and influenced by Japanese terminology,xiaopin wen and xiaopin were often conflated in translation,reflecting a stylistic self-consciousness shaped by Western literary theories.Zhou Zuoren and others redefined the concept of“late Ming xiaopin,”replacing Chen Jiru,a key figure in the Four Treasuries'General Catalog,with the Gongan and Jingling Schools as representative authors.This shift spurred a proliferation of prose writings and numerous anthologies on late Ming xiaopin,further solidifying the genre's stylistic characteristics and attributes.
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