中國詩學的精神

前言

　　Foreword　　Poetry plays an important role in Chinese culture during itsentire history. The Book of Poetry （Shi jing）, for example, isranked the first among the Six Classics of Confucianism. Forso long a time in antiquity it was employed as a textbook forprimary schooling and art education as well. Even many centurieslater it still served as a fountainhead of inspiration for poets,such as those in Tang and Song Dynasties. Now, a large amountof its content is not as popular as it used to be due to the bumperharvest of flourishing Tang poems and the Song ci lyrics. Yet, thetradition of poetry reading and recitation continues all the waythrough. Up till today, most of the Chinese children commencetheir early learning with the Tang poems because they are short,musical, vivid and picturesque, and above all, much easier tomemorize and apprehend. Hence, you can ask almost every kidyou encounter in China to recite a couple of poems providing heor she speaks the native language or standard Chinese properly.　 Parallel to the rich output of poetry are the rich sourcesconcerning the techne of poetic composition and appreciation.These sources are called shihua qua discourse on poetry or cihua.

內(nèi)容概要

　　This book looks into some highlights of　Chinese poetics from a historical and　transcultural perspective。 It carries out　an in-depth discussion of such thematic　topics as Confucius’ expectation of poetry　in　education，Mozi and Xunzi on musical　functions，Liu Xie’s critical illumination　of poetic styles，Zhu Xi’s moralistic view　of poetry，the poetic wisdom in the zen　enlightenment，Wang Guowei’s aesthetic　criticism of the poetic state par excellence，and Lu Xun’s sublime poetics of rnmratic　type。All this is conducted through textual　and contextual analysis in order to　facilitate a new rediscovery and creative　synthesis。

作者簡介

　　Wang Keping （Keping Wang，b.1955， M.A. Ph.D.） is a research　fellow of Chinese Academy　of Social Sciences，university　professor of Beijing International　Studies University，visiting fellow　at St。Anne’s College of the　University of Oxford （2

書籍目錄

ForewordChapter 1 A Manifold Expectation of Poetry　1.Poetry as a Social Discourse　2.Poetry as an Aesthetic Discourse　　2.1　Poetic Xing    2.2　Poetic Guan    2.3　Poetic Qun    2.4　Poetic Yuan　3.Poetry as a Moral DiscourseChapter 2 Confucius and Plato on Music  1.Psychical Effect of Music  2.Aesthetic Value of Music  3.Moral Function of Music  4.Political Expectation of Music  5.Pedagogical Worth of Music  6.A Comparative RemarkChapter 3 A Debate on the Functions of Music  1.Against Music：Mozio’s Negative Utilitarianism  2.For Music：Xunzi’s Positive Utilitarianism  3.A Reconsideration of the Opposing ViewsChapter 4 A Critical Illumination of Poetic Styles  1. The Literary Development：Form and Style　　1.1　The Institutional Factor  1.2　The Fashion Impact  1.3　The Political Element  1.4　Group Dynamics  1.5　Historico-cultural Context  1.6　Artistic Individuality　2.Artistic Creation：Proper Inclusiveness　and Holistic Vision　3.Stylistic Paradigms：Naturalness，Gracefulness and Elegance  　3.1　Naturalness as Beauty  　3.2　Gracefulness and EleganceChapter 5 A Moralistic View of Poetry  1.Conformity to the Moral Principle a priori  2.A Bi-polarized Treatment of the Guofeng  3.Second Reflection　on “Having No Depraved Thoughts”Chapter 6 Poetic Wisdom in Zen Enlightenment  1.Revelation from Natural Scenes  2.Natural Spontaneity as a Psychical Path  3.A Poetic Way of Zen Enlightenment　　3.1　Gradual Enlightenment　　3.2　Sudden Enlightenment  4. The Realm of Sumyata as BeautyChapter 7　Aesthetic Criticism of  1.Beyond East and West：An Transcultural Transformatio　2.Aesthetic Education as a Critical Necessity（　Meiyu Shuo）　……Chapter 8　A Sunlimr Poetics of Maratic TypeAfterwordAppendix

章節(jié)摘錄

　　a composite art that encompasses a full range of positive functions.Music is effective not merely morally for personal cultivation andsocially for harmonizing human relations, but also politically inenhancing communal morale and cohesion for national defense. Whatfor Mozi seems to be useless and wasteful, for Xunzi turns out to beuseful and necessary. This paper looks into the polar opposition of theirconceptions of music through a comparative intellectual anatomy.　　Among ancient Chinese thinkers, Mozi stood out as the firstopponent of Confucius. Mozi developed a different way of oughtregarding the human condition and the status quo of his contemporarysociety. He attacked Confucianism as a whole and asserted thatConfucian principles would ruin China in four ways: First, Confuciandenial of the existence of God and the spirits would displease thesebeings and make them ready to punish Chinese society. Secondly,Confucian insistence on laborate funerals and a three-year period ofmourning on the death of a parent would waste the wealth and energyof the people. Thirdly, Confucian emphasis on the practice of musicwould also waste the wealth and energy of the people. Fourthly,Confucian belief in predetermined fate would lead people to lazinessand passive resignation.　　To correct these Confucian errors, Mozi told his disciple WeiYue that he proposed five principles to govern the state. He wouldrecommend to the lord of a state in chaos the principle of honoring theworthy and identifying with the superior. He would advise the lord ofa state in plight to recognize the principle of frugality and moderationin funerals. He would propose to the lord of a state obsessed withmusical entertainments the principle of negating music and rejectingfatalism. He would persuade the lord of a state in cultural wildness toaccept the principle of respecting the will of Heaven and the spirits.He would convince the lord of a state with aggressive ambitionsto adopt the principle of exercising universal love and denouncingoffensive warfare.

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