DSpace community: 中國文學研究所

劉勰《文心雕龍》文章創作中「象」之運用辨析

title: 劉勰《文心雕龍》文章創作中「象」之運用辨析 abstract: 自先秦以迄六朝，對於思想範疇中「意」與「言」之推索與釋義相當重視，從而產生連繫，並延伸至「象」所作詮釋，構成明確有度之論述脈絡。在相同時世跨度下，文章創作雖未透顯出完備且具條理之闡述可供觀照，試著憑藉實際創作詮證其中蹊要，遂為楷則，得以說明「象」由獨立文章創作所呈現象，乃至劉勰於《文心雕龍》所作入理評議，掌握程度已臻全面，不僅能夠有效地捕捉抽象之「意」，亦可致「言」穩定妥切。本文旨在標顯文章創作中關於「象」之運用情形。首先，筆者便由「言意之辨」以為主軸，表明思想邏輯與文章創作中「意」、「象」、「言」之沿革，細究其中差異，其後是以觀察實證如何據理鋪敘，創作過程常在，包含先秦、兩漢、魏晉及南朝結撰述作，揭櫫創作中體現「象」之多種樣貌。最終輒進入劉勰《文心雕龍》相應精宏通論，彰往察來，並嘗試以其理論內容分析「象」之實質作用，確為言行若一，俾論述精簡而能達義，探尋此一發展脈絡所及深遠影響。綜觀而論，在文章理論逐步歸攏創作現象之同時，劉勰亦於著述內容中意識到「象」之內涵，並且多所釐正，反覆就相關問題進行深究綜述，每與作品連繫要切，故可以微知著，發明過程所蘊意旨。研究會選擇如此途徑，當是基於創作實踐與指導論述過程兩端，不致偏頗，改換體察角度以瞭解「象」之精純，冀能於前賢先見之餘，略獻芻言。 ;From the pre-Qin period through the Six Dynasties, considerable attention was devoted to the investigation and interpretation of the conceptual categories of “yi” and “yan”. Through this sustained inquiry, these notions were brought into relation with one another and further extended to interpretations of “xiang”, thereby forming a coherent and well-defined discursive trajectory. Within the same historical span, although literary creation did not yet articulate a systematic and fully theorized exposition available for direct observation, writers nevertheless sought to elucidate its underlying principles through concrete acts of composition. Such practices gradually established normative models, making it possible to demonstrate that “xiang”, as manifested in independent literary works, had already attained a high degree of theoretical awareness by the time of Liu Xie’s Wenxin diaolong. In Liu Xie’s penetrating evaluations, the grasp of “xiang” proves to be comprehensive: it not only enables the effective apprehension of abstract “yi”, but also allows “yan” to achieve stability and appropriateness. This study aims to highlight the modes of employing “xiang” in literary composition. It begins by taking the “distinction between “yan” and “yi” as its central axis, clarifying the historical development of “yi”, “xiang”, and “yan” in both intellectual discourse and literary practice, and closely examining the differences among them. It then proceeds to observe, through concrete examples, how rational principles are unfolded in actual compositional processes. Drawing upon writings from the pre-Qin, Han, Wei–Jin, and Southern Dynasties periods, the discussion reveals the multiple forms through which “xiang” is embodied in literary creation. Finally, the analysis turns to the corresponding comprehensive and incisive discussions in Liu Xie’s Wenxin diaolong, reviewing past insights in light of later developments and employing his theoretical framework to examine the substantive function of “xiang”. In doing so, the study demonstrates the unity of theory and practice, achieving concision without sacrificing meaning, and traces the far-reaching implications of this line of development. In summary, as literary theory gradually integrated and systematized creative phenomena, Liu Xie became acutely aware of the internal dimensions of “xiang” within his writings and undertook extensive clarification and revision of the concept. He repeatedly explored and synthesized related issues, consistently linking them closely with literary works themselves. Through this approach, subtle indications can be discerned from explicit formulations, allowing the underlying significance of the theoretical process to emerge. The present study adopts this path in order to balance creative practice and theoretical guidance, avoiding partiality while shifting perspectives to apprehend the refined essence of “xiang”. It is hoped that, building upon the insights of earlier thinkers, this study may offer a modest contribution to the ongoing discussion.

梁德繩《古春軒詩鈔》研究;A Study of Liang Desheng’s Guchunxuan Shichao

title: 梁德繩《古春軒詩鈔》研究;A Study of Liang Desheng’s Guchunxuan Shichao abstract: 本論文以清代女作家梁德繩（1771-1847）及其《古春軒詩鈔》為研究核心。旨在透過對其生平、交遊、作品內容與藝術特色的綜合考察，呈現梁德繩作為女性，如何在動盪時代與多重角色中，以詩歌安頓身心。全文首先重建梁德繩的家世背景與交遊網絡，探討其作為連結江南與北京女性文壇樞紐的角色。其次，剖析詩集的核心題材，在母職書寫方面，探討其課子詩作與對不同性別的教育及期許；在行旅書寫方面，分析從早年壯遊到晚年依親的心境轉折；在悼亡書寫方面，考察其面對喪親之痛時，透過夢境與宗教信仰進行的心理療癒過程；並論及她如何提煉生活雅趣，將閨閣巧藝轉化為文學活動。此外，亦針對其詩作的體裁策略、意象流變與修辭風格進行藝術分析。最後，綜觀其生命歷程與創作，探討其如何在個人情感與家族責任之間取得平衡，並據此論述其在清代女性文學史上的意義與定位。 ;This thesis focuses on the Qing Dynasty female writer Liang Desheng (1771-1847) and her poetry collection, Guchunxuan Shichao. By comprehensively examining her biography, social associations, literary themes, and artistic features, this study aims to explore how Liang Desheng used poetry to find spiritual settlement amidst a turbulent era and conflicting social roles. The study first reconstructs Liang Desheng’s family background and social network, discussing her pivotal role in connecting the female literary circles of Jiangnan and Beijing. Secondly, it analyzes the core themes of her poetry collection. Regarding the writing of motherhood, the thesis explores her poems on educating her children, examining her distinct expectations and educational approaches for different genders. In terms of travel writing, it analyzes the emotional transition from her early sightseeing tours to her later journeys seeking family support. Regarding elegiac writing, it investigates the psychological healing process she underwent through dreams and religious beliefs when facing the loss of loved ones. Furthermore, the study discusses how she cultivated elegant tastes in daily life, transforming skills of the inner chambers into public literary activities. In addition, the thesis provides an artistic analysis of her strategies regarding genre, the evolution of imagery, and her rhetorical style. Finally, by synthesizing her life journey and literary creation, the study explores how Liang Desheng negotiated a balance between personal emotion and family responsibility, thereby establishing her historical significance and position within the history of Qing Dynasty women′s literature.

混沌世界裡的處境—— 藏族作者萬瑪才旦漢語小說與電影敘事研究;The Predicament in a Chaotic World: Cross-Media Narratives in the Chinese Novels and Films of Tibetan Auteur Pema Tseden

title: 混沌世界裡的處境—— 藏族作者萬瑪才旦漢語小說與電影敘事研究;The Predicament in a Chaotic World: Cross-Media Narratives in the Chinese Novels and Films of Tibetan Auteur Pema Tseden abstract: 本論文以藏族作家兼導演萬瑪才旦（1969-2023）為研究對象，旨在探討其漢語小說與電影之間的跨媒介敘事關係。萬瑪才旦在文學與影像的雙重創作中，並非單純進行文本改編，而是透過文化轉碼，建構出具備現代性反思的藏族文化主體性。論文以文本分析與比較方法分為兩個層次，首先是「自我互文」的分析，《靜靜的嘛呢石》探討媒介轉換中，宗教的內隱與外顯；《塔洛》則揭示在制度空間中，身分認同的崩解；《氣球》中的女性，則在宗教、家庭與政治三重規訓中覺醒，且萬瑪才旦在前期利用影像呈現藏地的物質現實，而以文字保存其精神真實，直至後期電影則漸漸加入如小說般魔幻的風格。其次是「多元對話」，《尋找智美更登》以後設敘事解構傳統藏戲的道德框架，並轉向對世俗情感的關注；《撞死了一隻羊》引入具文化依據的夢境，作為復仇困局的解脫出口；《雪豹》則將靈性寓言作為政治生態的協商，以神聖的顯現作為解決方法，以上都是萬瑪才旦將他人小說結合自身小說後，藉以呈現的「跨界」觀點。整體而言，萬瑪才旦小說與電影的互文指涉，超越了外界對藏族的奇觀化凝視，為藏族文化開拓兼具審美自覺與社會批判的主體性。;This thesis examines the Tibetan writer and filmmaker Pema Tseden (1969–2023), focusing on the cross-media narrative relationship between his Chinese-language novels and films. Rather than treating adaptation as simple translation, Pema Tseden practices cultural transcoding, constructing a reflective Tibetan cultural subjectivity through the interplay of literature and cinema. Employing textual analysis and comparative methods, the study proceeds on two levels. The first, self-intertextuality, analyzes The Silent Holy Stones to explore shifts in the implicit and explicit representation of religion across media; Tharlo to reveal identity disintegration within institutional structures; and Balloon to examine female awakening under the intersecting disciplines of religion, family, and politics. While Pema Tseden’s early works privilege visual realism and textual spirituality, his later films increasingly adopt the magical and allegorical qualities characteristic of his fiction. The second level, diverse dialogues, investigates how The Search employs meta-narrative strategies to dismantle the moral authority of traditional Tibetan opera in favor of secular affect; how Jinpa introduces culturally grounded dreams to break the impasse of revenge; and how Snow Leopard reframes spiritual fable as a negotiation of political ecology, mobilizing the sacred as a form of resolution. These works demonstrate Pema Tseden’s cross-boundary vision through dialogue with both his own texts and those of others. Through sustained intertextuality between novels and films, Pema Tseden moves beyond the exoticizing gaze imposed on Tibet, articulating a cultural pathway marked by aesthetic self-awareness and critical engagement with modern social realities.

宋代艮卦說研究

title: 宋代艮卦說研究 abstract: 本論文以《易經》艮卦為核心，探討其「止」之義理自先秦、漢唐至宋代的思想演變，並著重分析宋代儒學如何將艮卦轉化為心性修養與本體建構的核心資源。艮卦原初取象於山，象徵萬物運行中的定位與節制；在思想史的發展過程中，此一形象比喻逐步內化為心性論與工夫論，形成兼具修養與道德實踐的意義。研究首先追溯艮卦說的初步奠基。先秦時期，艮卦以止象徵位序之安定，《易傳》進一步拓展其意涵，強調「時止時行」的動靜理則、「思不出其位」的道德自律與成終成始的宇宙生機義。兩漢時期，詮釋重心轉向道德名分與政治秩序之維護，強調「精白」德性、制欲與官分職守。魏晉至隋唐時期，在儒、釋、道思想交融的背景下，王弼與孔穎達發展出預防性的止欲論，而唐代李通玄則試圖會通佛易，將《華嚴經》的禪定與止念工夫引入易學，為後來宋代理學內化為心性論的詮釋提供了豐富資源。本研究之核心，在於論述宋代艮卦說的轉型與義理深化。北宋時期，理學家如周濂溪、張橫渠、二程等人，透過對主靜、止欲、光明之德性及止於理的闡發，建立了儒家主體性的艮卦說，並以此作為抗衡佛教思想的重要依據。南宋時期，艮卦詮釋的路徑呈現多元開展，兼山學派承襲伊川學說，以「限」釋「艮」，嚴辨天理與人欲之間的界限，確立了止於無欲的嚴格防線；朱熹則透過嚴密的文獻考證與層次劃分，區分初學防欲之輔助工夫與止於至善之成德境界，將艮止提升至動靜皆止於理的修養高度。與此相對，心學一脈則開啟了直契本心的詮釋路徑，陸象山承襲明道之說，以無我無物、任理忘己消解內外對立，回歸本心之主宰；楊慈湖更將此詮釋脈絡推向極致，提出不起意之說，強調本心如水鑑、日月般應而不動，將艮卦之止轉化為感而遂通、無止無所的靈明狀態。綜觀而言，宋代易學對艮卦的詮釋流變，實則是理學與心學在心性論與修養工夫上的反覆激盪。本研究總結認為，艮卦說不僅具備思想的發展脈絡，更是連結宇宙秩序與成德理想的思想樞紐，亦是宋儒建構道德主體、確立儒學正統的重要理論依據。;This thesis focuses on the Gen (Keeping Still/Mountain) hexagram of the I Ching (Book of Changes), exploring the philosophical evolution of its meaning of "stopping" (zhi) from the pre-Qin, Han, and Tang dynasties to the Song dynasty. It places particular emphasis on analyzing how Song Confucianism transformed the Gen hexagram into a core resource for the cultivation of mind-nature and ontological construction. Originally symbolized by the mountain, the Gen hexagram represents positioning and restraint within the movement of all things. Throughout the development of intellectual history, this figurative image was gradually internalized into theories of mind-nature and cultivation (gongfu), forming a meaning that encompasses both self-cultivation and moral practice. The research first traces the preliminary foundations of Gen hexagram theories. In the pre-Qin period, Gen symbolized stability and distinct positioning through the concept of "stopping," emphasizing the self-disciplinary qualities of acting or resting according to the time and ensuring "thoughts do not go beyond one′s position." The Han dynasty further connected this to moral cultivation and social order, highlighting the virtue of "purity" and adherence to official duties. During the Wei, Jin, and Tang periods, against the backdrop of the integration of Confucianism, Buddhism, and Daoism, Wang Bi and Kong Yingda developed a preventive view of stopping desires. Additionally, in the Tang dynasty, Li Tongxuan combined the Avatamsaka Sutra with meditation and thought-stopping practices, providing rich resources for the internalized interpretation of later Neo-Confucianism. The core of this thesis lies in discussing the transformation and deepening of Gen hexagram theories during the Song dynasty. In the Northern Song, Neo-Confucians such as Zhou Dunyi, Zhang Zai, and the Cheng brothers established a Confucian subjective view of the "Way of Stopping" through the elucidation of "emphasizing stillness," "brightness," and "resting in Principle" (Li), using this as a significant basis to counterbalance Buddhist thought. In the Southern Song, interpretive paths diversified: the Jianshan School inherited Cheng Yichuan’s theories and deepened them, establishing a strict defense line of "stopping in no-desire" and interpreting Gen as "limit" to strictly distinguish Heavenly Principle from human desire. Zhu Xi, through rigorous categorization and textual research, distinguished between the auxiliary practices of preventing desire for beginners and the broad state of accomplished virtue, elevating "Gen-stopping" to a level of cultivation where both movement and stillness rest in Principle. Lu Jiuyuan (Xiangshan) dissolved the internal-external duality with the concept of "no self, no object," returning to the mastery of the original mind. Yang Jian (Cihu) pushed this to the extreme with the theory of "no arising of intention," emphasizing that the original mind responds like a water-mirror without moving, transforming the "stopping" of the Gen hexagram into a state of spiritual clarity that responds and penetrates immediately. In summary, the evolution of the interpretation of the Gen hexagram in Song I Ching studies represents the dialectical interaction between the School of Principle (Li Xue) and the School of Mind (Xin Xue) regarding mind-nature and cultivation practices. This study points out that the Gen hexagram is not only an intellectual pivot connecting cosmic order with moral ideals but also a crucial theoretical basis for Song Confucians to establish morality as the subject. Keywords: I Ching (Book of Changes), Gen Hexagram, Stopping (Zhi), Song Neo-Confucianism, Theory of Mind and Nature, Theory of Cultivation (Gongfu)