摘要
"逆"是中国传统文化中重要的理论范畴,常与"顺"相对言。在"顺""逆"范畴的发展过程中形成了贵顺忌逆与主逆避顺两种价值取向,其中后者影响更为广泛,古代文学理论批评中的"逆笔"概念即渊源于此。属意于逆、以逆为贵是清代文学批评中普遍的审美祈向,桐城派亦通过选本评点对历代文章典范中的用"逆"现象进行了细致的品评析义,揭橥"反面"之逆、"旁面"之逆、"逆中之逆"等逆笔艺术佳妙,就中所论"取影""凌空倒影"等批评术语,以象喻方式对逆笔进行创造性阐释,丰富了逆笔批评之内涵。逆笔批评是桐城派文学思想细微面向的具体体现,既反映出桐城文士对逆向运思创作理念的深刻体悟,又内蕴贵曲忌直、崇尚奇险的审美心理。
"Anti-order" is an important theoretical category in Chinese traditional culture, often compared with the category of "fro-order." As the categories of "anti-order" and "fro-order" develop, two value orientations are formed in the process, that is, the orientation that favors "fro-order" over "anti-order" and that puts more merit on "anti-order" than "fro-order." The preference to "anti-order" has exerted greater influence and given rise to the concept of "anti-order writing" in theoretical criticism of classical Chinese literature. It is a common aesthetic aspiration in literary criticism of the Qing dynasty that values the "anti-order." The Tongcheng school, for instance, makes detailed comments on the use of the "anti-order writing" through anthologies and commentaries to emphasize its important meaning. Their creative interpretation by means of metaphor enriches the criticism of the anti-order writing. Tongcheng scholars’ criticism of anti-order writing is a concrete reflection of their literary thought. Moreover, their works not only reflect the profound understanding of Tongcheng school’s creative view on anti-order writing, but also embody the mindset of favoring the aesthetics of twists over smoothness.
作者
杨新平
Yang Xinping(the School of Literature at Northwest University,Xi'an 710127,Shaanxi Province,China)
出处
《文艺理论研究》
CSSCI
北大核心
2021年第3期198-209,共12页
Theoretical Studies in Literature and Art
基金
国家社科基金重大项目“中国古代文体观念文献整理与研究”[项目编号:18ZDA236]阶段性成果。
关键词
桐城派
逆笔
文章选本
评点
Tongcheng school
anti-order writing
classical prose anthologies
annotative criticism Author
作者简介
杨新平,文学博士,西北大学文学院副教授,主要从事中国古代文论研究。通讯地址:陕西省西安市长安区学府大道1号西北大学文学院,710127。电子邮箱:yangxinping79@163.com。