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題 名 | 李夢陽以「和」為中心的詩學體系(2)--以「二元對立調和」的法則為基礎而規創的詩歌創作理論=Meng-yang Li's "System of Poetics" as Derived form the Central Concept of "Concord" (2) |
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作 者 | 侯雅文; | 書刊名 | 東華人文學報 |
卷 期 | 12 2008.01[民97.01] |
頁 次 | 頁85-143 |
分類號 | 821.26 |
關鍵詞 | 和同; 李夢陽; 二元對立; 活法; 典範; 格調派; Li, Meng-yang; Ge-Diao school; Dualistic opposition; Canon; Concord; |
語 文 | 中文(Chinese) |
中文摘要 | 本文旨在論證並詮釋李夢陽的「創作理論」之意涵、其與「和文化」之間的關係,及其在「活法」的傳統上所涵有的意義。這項研究指出李夢陽所謂的「法則」係指二元對立調和,這不僅是一切藝術之源,更本諸萬物構成之理。又李夢陽所謂「典範模習」即以「二元對立調和」作為諸典範的「共同法則」。模習的意義即在掌握此「同一」之法。此一「和」、「同」的論點,主要承自《周易》而來,與其他先秦「辨和同」的傳統並不完全相同。此外,相較於宋代以創作主體之「主觀解悟」,作為「活法」的首出依據而言,李夢陽另外開展了以「客觀法式」作為「活法」的首出依據,因而有其價值。上述研究論題,乃是在既有李夢陽相關詩學研究的基礎上,進一步開發的新論點。 |
英文摘要 | This paper aims to prove and interpret meaning of Meng-yang Li’s “composition theory”, the relation between his composition theory and tradition about concept of “concord” and the value of his composition theory against the tradition about the kind of Chinese intuition. In the paper, Meng-yang Li’s composition principium, attunement of dualistic opposition, was figured out. According to Meng-yang Li’s “composition theory”, the literature canons are supposed to be followed by subsequent writers because they accord with attunement of dualistic opposition. Meng-yang Li’s thesis came from Book of Changes mainly. Besides, comparing with the thesis that focused on subjective originality and intuition by poetics’ critics in the Sung Dynasty, Meng-yang Li’s “composition theory” which advanced nomic showed more especial value. This research about Meng-yang Li’s “composition theory” can expand an new viewpoint after the completed researches about Meng-yang Li’s “composition theory” in the past. |
本系統中英文摘要資訊取自各篇刊載內容。