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《诗经》是中国不刊之鸿教,同时也是文学之源头,在历代解诗的诠释脉络中,有从经学视域著手,亦有从文学视角切入,大抵疑经始自宋代,而从文学解经始自明代,且蔚成时代风潮,然《四库提要》对文学解经颇有蔑视之词。几与清代相始终的最大文派:桐城派对于《诗经》异常重视,且代有其人,不断地为《诗经》作诂训、诠解、笺释、评点、辨伪等工作,冀能从历史的积淀中爬梳重要的观念,其于四库之说颇有相反相成之意见,本文基于此,拟从清末民初吴闿生《诗义会通》之解诗观点探赜《诗经》学发衍迄清末民初重要理论之演绎过程,冀能收摄《诗经》学之时代意义,进而探讨《诗经》如何从经学,经由桐城文人学者之诠释转化成文学观点的变异历程。
The Book of Songs is a hung teaching in China but also the source of literature. In the interpretation of historical interpretation of poetry, the study of the Book of Songs begins with the study of Confucian classics and from the perspective of literature. Interpretation of the scriptures from the Ming Dynasty, and Wei Cheng era, however, “Si Kuti” quite literally contempt for literature. Few of the greatest literary schools in the Qing Dynasty: The Tongcheng Party attached great importance to the Book of Poetry, and on behalf of others, it continued to work on the Book of Poetry such as precepts, interpretations, commentaries, commentaries, From the historical accumulation of important concepts, which in the Siku said quite contrary to each other, this article is based on this, from the end of the Republic of China early and late Republic of China Ng Sui-sheng, “poetics will pass” point of view of poetry to explore the “Book of Songs” The process of deducing and deriving the deduction of the important theory in the late Qing Dynasty and the early years of the Republic of China, can hope to absorb the epoch meaning of the study of The Book of Songs, and then explore how the Book of Songs transforms into the variation of the literary viewpoint from the study of Confucian classics and the interpretation of Tongcheng scholars and scholars.