晚明吳中布衣文人王百穀新探; A New Study on the Man of Letters Wang Baigu,a Suzhou Commoner in the Late Ming Period.

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題名:	晚明吳中布衣文人王百穀新探;A New Study on the Man of Letters Wang Baigu,a Suzhou Commoner in the Late Ming Period.
作者:	蕭敏材;Min-tsai Hsaio
貢獻者:	中國文學研究所
關鍵詞:	王穉登;王百穀;晚明;文學場域;位階;Wang Zhideng;Wang Baigu;the late Ming period;the field of literature;position;recluse/hermit
日期:	2008-06-04
上傳時間:	2009-09-22 09:16:39 (UTC+8)
出版者:	國立中央大學圖書館
摘要:	嘉靖中期後的晚明，士人階層出現了一批身份特殊，史書稱之為「山人」的文人群體。此一群體的出現，在當時種種特殊的社會、文化現象以及文學潮流中，似乎扮演著重要角色，而王穉登(百穀，1535-1613)在《萬曆野獲編》中便被描述成此一群體中重要的指標性人物。因此，以詩聞名、遊走權貴之間的「相門山人」，似乎便理所當然地成了我們對於王百穀的一種定見。諸多對於百穀的負面描述，與《萬曆野獲編》相對照之下，似乎也不謀而合，而此評價似乎亦被視之為理所當然的一種「刻板印象」。順此理解，今人對於王百穀以及山人群體的描述，可想而知，大多亦不脫於《萬曆野獲編》中之論述。然而，從明清之際，錢謙益所著的《列朝詩集小傳》中所言之王百穀，卻與《萬曆野獲編》所言之形象，大相逕庭。從《萬曆野獲編》到《列朝詩集》，同一個人，何以會有如此極端之評價？這一位在《明史˙文苑傳》中被稱之為「接掌文徵明之後吳中文壇三十年」，錢謙益稱之為「名滿吳會」的布衣文人，為何在今日所見文學史的著作論述中，幾乎不見其蹤？其聲名何以湮滅不明？本文試以當代法國學者布爾迪厄（Pierre Bourdieu）文化社會學中「文學/文化場域」（the field of literature/culture）理論中諸如位階（position）等等概念，試圖將王百穀以及嘉隆、萬曆之後所形成的此一特殊文人群體，置於當時文學/文化的建構、生產的脈絡中，重新檢視歷來對於王百穀之評論，釐清其背後的價值運作、權力結構等問題。並從目前所見王百穀史料的爬梳當中，試圖還原、檢視並重新探討王百穀的形象以及在當時文壇中應有的定位，並進一步檢視現今主流文學論述中對於當時文學場的變動，是否有可資補充的可能。 This thesis attempts to adopt the cultural theory of “fields/champs” by Pierre Bourdieu to re-examine the general image of Wang Zhideng王穉登(Baigu百穀, 1535-1613) as well as to reinvestigate his position in the field of literature during the late Ming period. It hopes to scrutinize why he was marginalized in the mainstream literary discourses of the late Ming period. Additionally, we intend to find whether it is possible to make alternative remarks. After the middle stage of Jiajing reign, a group of people in the literary field called “the recluse/hermit”(shanren山人) had bloomed in the stratum of “intellectuals”(shi士). It seemed that they played a significant role and had an impact on every aspect of society then. According to “Unofficial Records of Wanli Peroid”(Wanli Ye Huo Bian萬曆野獲編), Wang Baigu not only performed a strong character but also a very famous figure in the trend of shanren phenomenon. Thus, the image of “a servant/pupil of prime minister”(Xiang-men shanren 相門山人) represented the vivid character when people mentioned about Wang Baigu. Compared to Wanli Ye Huo Bianj, it seemed that we naturally regarded the negative description as the definition when we mentioned about Wang Baigu. In short, the identification of Wang Baigu as Shanren became a “stereotype” in every literary and historical record. However, in spite of the description in Wanli Ye Huo Bian, much different voice was emerging simultaneously. For example, during the Ming-Qing dynastic transition, “ Biographical Sketches of the Poets of the Ming Dynasty” (Liechao Shiji Xiaozhuan列朝詩集小傳)by Qian Qianyi錢謙益(1582-1664) argued that Wang Baigu “played an important role in the Suzhou literary field almost 30 years after Wen Zhengming文徵明(1470-1559) died.” If it was true, when we discuss the literary history of the Ming dynasty, Wang Baigu should be one of the important figures in the literary field in the late Ming period.
顯示於類別:	[中國文學研究所] 博碩士論文

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