镜像:翁方纲诗学与明代诗学关系发覆  

Mirroring:A Study of the Relationship between Weng Fanggang's Poetics and Ming Dynasty Poetics

作　　者：孔燕君 Kong Yanjun(the Department of Chinese Language and Literature,Peking University,Beijing 100871,China)

机构地区：[1]北京大学中国语言文学系,北京市100871

出　　处：《文艺理论研究》2024年第6期147-157,共11页Theoretical Studies in Literature and Art

摘　　要：翁方纲诗学与明代诗学之关系,大抵由于翁方纲对明诗的批评态度而显得湮没不闻。事实上,翁方纲的诗学批评和理论建构都明确表现出了“以明诗为殷鉴”的意味:他借由“学古”与“袭古”话题的切入,逐步深入到师法论的建构以及古典诗歌经典统序的重组,正是建基于以明代诗学为反面观照的价值判断与逻辑进路;同样,在明诗批评的语境中,翁方纲对“真诗”与“伪体”概念作了明确的分辨与伸张,以此实现对于诗歌本质论的逻辑建构与理论更新,为学人诗论的发展奠定了坚实的理论基础。可以说,翁方纲正是在以明代诗学为对话客体与反面观照的过程中,基于对明诗的省察、沟通、批评和反驳,逐渐形成并且进一步完善了个人的诗学理论雏形。The relationship between Weng Fanggang's poetics and Ming dynasty poetics has been largely overlooked,primarily due to Weng Fanggang's critical stance toward Ming poetry.However,Weng Fanggang's poetic criticism and theoretical framework clearly exhibit characteristics of“using Ming poetry as a reference”:he gradually developed a poetic genealogy and restructured classical poetry through the themes of“learning from the ancients”and“inheriting the ancients,”based on a critical approach that viewed Ming poetry as a negative example.In his critique of Ming poetry criticism,Weng Fanggang also drew clear distinction between“true poetry”and“pseudo-styles”,thereby constructing a logical foundation and advancing the theoretical understanding of poetic essence.This laid a solid theoretical basis for the development of scholarly poetry.It can be said that Weng Fanggang gradually developed and refined his own poetic theory through his observations,dialogue,and critique of Ming poetry,engaging it as both a point of reference and a negative example.

关 键 词：翁方纲 明代诗学 清代诗学 镜像 反面观照 

分 类 号：I20[文学—中国文学]