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題 名 | 曾國藩陽剛陰柔說「古文八訣」蠡探=Tseng Kuo-Fan's Theory of Masculine and Feminine Styles: A Preliminary Study of the "Eight Keys" to Classical Prose |
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作 者 | 李建福; | 書刊名 | 興大中文學報 |
卷 期 | 11 1998.06[民87.06] |
頁 次 | 頁61-127 |
分類號 | 824.1 |
關鍵詞 | 曾國藩; 湘鄉派; 姚鼐; 桐城派; 陽剛陰柔說; 陽剛之美; 陰柔之美; 古文四象; 古文美學; 古文八訣; 雄; 直; 怪; 麗; 茹; 遠; 潔; 適; Tseng Kuo-fan; Hsiang hsiang school; Yao Nai; Tung cheng school; The theory of masculine and feminine styles; The beauty of the masculine style; The beauty of the feminine style; The four images of classical prose; The aesthetics of classical prose; The eight keys to classical prose; The virile; The direct; The grotesque; The magnificent; The indirect; The profound; The neat; The leisurely; |
語 文 | 中文(Chinese) |
中文摘要 | 本文探討曾國藩陽剛陰柔說之「古文八訣」,即所謂陽剛之美「雄、直、怪、麗」,陰柔之美「茹、遠、潔、適」,八類文章境界之義蘊,及其所以為陽剛、陰柔偏勝之故。先溯其源,再探其流;更舉曾氏及相關諸家論文之說,融貫互發,詳繹贊辭,辨其疑義,示以例證,以期窮究八訣文境之妙。 |
英文摘要 | This paper attempts to examine the eight aesthetic categories (or keys) proposed by Tseng Kuo-fan for classification of the stylistic features of classical Chinese prose, as well as to investigate the significance of the lofty aesthetic realm opened up by these categories and to explain why some of them are considered masculine while others are feminine. Tseng's eight categories are: the virile, the direct, the grotesque, the magnificent, the indirect, the profound, the neat, and the leisurely; the first four belong to the higher category of the masculine style, while the last four belong to that of the feminine. In order to appreciate thoroughly the profound aesthetic values and the nameless literary grace achieved by Tseng's theory, many strategies are adopted in this paper: the exploration into its origin and different stages of development, as well as into its far-reaching literary impacts; the use of references to Tseng and to other authors of related interest and the employment of concrete examples from various sources in order to explicate and to expand on Tseng's exegeses. |
本系統中英文摘要資訊取自各篇刊載內容。