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在中华文化的话语体系当中,项羽作为英雄形象,凝聚着多层次的极其丰富的含义。在不同的历史阶段,不同的文化语境中,项羽这一形象会折射出姿态万千的光芒。南宋初期,由于爱国热情受到打压,文学当中对项羽这一形象的演绎阐释就出现了种种话语禁区。龚相的《项王亭赋》为我们提供了认识那个时代学术文化特征的一个角度。龚赋中对传统的“得道者得天下”的历史观的困惑,对项羽临江不渡的回避等,在同时期的文学作品中不是孤立现象,它反映了那个时代政治高压下猥琐平庸的和谐稳定的时代氛围。如果把龚赋和晚唐的李德裕的《项王亭赋》作比较,则更能见出其世风的萎靡。
Among the Chinese discourse system, Xiang Yu, as a heroic image, embodies the extremely rich meaning of multi-level. In different historical stages and different cultural contexts, the image of Xiang Yu reflects the glittering attitude. In the early Southern Song Dynasty, due to the patriotic enthusiasm was suppressed, the literature interpretation of Xiang Yu’s interpretation of this image appeared in all kinds of discourse. Gong Xiang’s “Item Wang Ting Fu” provides us with an insight into the academic and cultural characteristics of that era. Gong Fu’s confusion over the historical view of the traditional “entertainer” and the avoidance of Xiang Yu’s Linjiang are not isolated phenomena in the literary works of the same period. They reflect the insignificant and mediocre Harmonious and stable atmosphere of the times. If you compare Gong Fu with Li Deyu’s “Wang Ting Fu” in the late Tang Dynasty, you can better see the malaise of his martyrs.