中国文学史编纂中的“唱对台戏”  

The Phenomenon of“Opposite Orientations”in Compilation of History of Chinese Literature

作　　者：陈文新[1] CHEN Wen-xin

机构地区：[1]武汉大学文学院,湖北武汉430072

出　　处：《三峡大学学报（人文社会科学版）》2025年第1期1-6,116,共7页Journal of China Three Gorges University(Humanities & Social Sciences)

基　　金：国家社会科学基金重大项目“中国文学史著作整理、研究及数据库建设”(17ZDA243)。

摘　　要：中国文学史编纂中的“唱对台戏”,包括多种类型,或发生在晚辈与前辈之间,如五四新文化人之于清民之际的文学史家;或发生在同辈学人之间,如五四时期的学衡派之于新文化人;或发生在域外汉学与本土学术之间,如《哥伦比亚中国文学史》之于通行的中国文学史。“唱对台戏”促进了对中国文学发展历程的深入理解,是中国文学史编纂逐渐趋于完善的必由之路。对其间的种种情形加以考察,有助于深入把握“先入之见”与“客观性”的辩证关系。The phenomenon of“opposite orientations”occurring in the compilation of the history of Chinese literature manifests in various forms.It has occurred between junior and senior scholars,such as the intellectuals of the May Fourth New Culture Movement versus the literary historians of the late Qing and early Republican periods.It has also arisen among contemporaries,like the Xueheng School versus the New Culture Movement intellectuals during the May Fourth period.In addition,it has also been manifested between overseas Sinology and indigenous academia,exemplified by Victor H.Mair's The Columbia History of Chinese Literature versus the prevailing editions of the history of Chinese literature compiled by Chinese scholars.Such opposite orientations have fostered a better understanding of the development of Chinese literature,serving as a necessary journey for the gradual refinement of the compilation of the history of Chinese literature.A close study of such trivia is necessary for a dialectical clarification of the relationship between“prejudice”and“objectivity”.

关 键 词：中国文学史 编纂 “唱对台戏” 

分 类 号：I206[文学—中国文学]