【周景耀】沒有歷史的詩學——錢鐘書一包養的宋詩研討及其詩學觀念的變異

Keywords: Money Book/ “Song Poetry Selection”/ Literature Base/ History/ Jingxing/

Yun Maode wrote an article in 1942 to comment on the tide of “learning for learning” introduced from outside the region since the late Qing Dynasty. He pointed out that “Since the early years of today, students have suddenly advocated the saying “learning for learning for learning””. He believed that this concept of governance can be one of the ends of governance, but not the correctness of governance. “Regularity” refers to the learning of “clear use” and “the inner sage and the outer king”. ① Money-shaped books are also influenced by this learning style. The governance path is very different from the so-called “clear use of the body” and “the inner sage and the outer king”. However, “learning for learning” is the governance concept, and it has always adhered to the same attitude towards the literary-based concept originating from modern Eastern countries. With the historical phenomena of Eastern Thinking Schools such as Croatia, Xiucai, and C.M.Trevelyan, he proposed that literature should deprive the vassal position and build its independent position. Of course, it is undeniable that relying on extraterritorial concepts cannot be rated as much as possible in Chinese literature. This can provide us with a look at other people who view the traditions of the country. But we still need to ask whether the evaluation criteria that stand on the other’s eyes can be based on the focus outside, inside and outside, if the focus is on the outside, inside and outsideWhat causes misbalance to be lost and conceals the traditional poetry energy? Is it also a way to bring him an opportunity to the modern Chinese lyrics? This article discusses these issues.

On July 23, 1983, Mokong Book clearly stated in a letter to Zhu Xiaoyuan: “My interest is the so-called ‘photography’.” ② Assuming that using this literary theory, literature as a unique aesthetic phenomenon is the starting point of the logical interpretation of Mokong Book literature. He used literature as a pure phenomenon that was inseparable from others to “respect”. His many views on literature are all conditioned. The structure of this concept is related to the influence of Oriental phenomena on it. He once quoted the views of phenomenal experts Heidegger, Scheller and others in works such as “Editor of Guan”. ③

Photography is a philosophical trend that has been in the East in the 20th century. The representative figure is Edmund Husser. He is concerned about the crisis of ideological forms and the confusion of civilization standards formed by the First World War. He tried to develop a philosophical way to make confusion gain absolute certainty, namely “morphology”. He wanted to use this absolutely self-sufficient “spiritual science” to fight the non-sensory theory after the war. The essence of phenomenon is to return to the intuitive concrete, “toward the things themselves (Sachen seIbst), ④ Heidegger explained this, phenomenon “lets people see it from the things they appear as they appear from themselves.” ⑤ To establish the determination of concrete things in the tree, the first thing to do is to ignore everything we directly experience, to eliminate all prejudice that is not suitable for things, that is, to place some kind of “prefix” of things, put it in the “branch”, and to restore the inner world to our conscious content to ensure the purity of things we face, which is called “reduction of phenomena” by Huthier. ⑥ The “photography” mentioned in Moyto’s book is to seek to return to the image of oneself, to truly master things, and to pretend to return to the image of oneself in literature, how to truly master the “photography” of literature?

In Iglton’s view, phenomenon learning has a certain impact on Russian sentiment. He believed that, as Huthier “bracketed” the actual object to pay attention to the activity of cognizing the object, for the sensible ideologue, the poem also “covered” the actual object, and then focused attention on the method of perceiving the object.” He pointed out that “in the phenomenon criticism, the author, creative conditions and readers of the actual historical situation in literary works are also ignored.” The purpose of this is “to read the text completely “inner” and a most basic reading that is not affected by the inner things”, so literature is an independent and self-sufficient object. He believed that this “enclosing” actually means “restored” the text in “reduction of phenomena”, that is, restore the text to the pure reality of the author’s consciousness. To understand the author’s consciousness, “We cannot touch any actual knowledge of the author we are concerned about – journaling and criticismIt is stopped—and only touches the aspects of his or her consciousness in the work itself” and that in the reading process we must “clear one’s own prejudice, empathize into the ‘world’ of the work, and replicate as accurately and fairly as possible everything it finds in it”, “in order to achieve complete objectivity and neutrality.” Iglton believes that “the phenomenon critical analysis assumes that a work is an organic whole, all the works of a particular author<a The same goes for this kind of phenomenon criticism can be used to move independently between works that are completely unrelated and have extremely different themes, and they are determined to follow the same kind of unity." However, this seemingly scientific but now…the practice of learning is actually very subjective. "Photomatic criticism is an idealistic, essentialist, anti-historical, emotional and organic Theoretical criticism is a pure sliver of blind spots, prejudice and limitations of the entire modern literary theory.” ⑦

The Money Book is very clear and profound in the criticism of the Money Book. ⑧ When the Money Book put this in a specific historical situation in the East When the generated phenomenon criticism (ethics) is used to treat modern Chinese poems, the morals must “enclose” the internal world related to the history of poetry, and resolve the resistance to history (in fact) and other reasons to put the text into the text in order to maintain the full and clear text. The abstraction of “pure” only reads the text “inner”. This is what he calls “the poem must be taken from oneself, and the empty words depend on”. ⑨ Or based on the above understanding, he will concentrate on the “words” to analyze the poem without history when discussing poems. , assuming that the unpreventable dilemma arose when the Oriental Contemporary Chinese poems emerged when the book “The Korean Changli Poem” was used to describe the modern Chinese poems. The book “Collection of the Year” was published by the Shanghai Classical Literature Book Society. Xi Zhonglian pointed out that the task of collecting Korean poetry is carried out according to four “simple examples”: “One is proofreading… Two is chanting. In the background of each poetry, we know the purpose of human beings in the world to promote… Three is annotation, and when it comes to things. The review and discussion of the origin and the essays and the meaning of the essays are traced from the source, and the period of work is clear and there is no hint. The fourth is the evaluation, the subject of the lyrics and chapters, which are divided into different examinations, and are mainly about analyzing the subtleties and citing the humanistic points of the past. There are many references in the past and present, and they do not relate to the minority of the essays, which will benefit the more. “This has always been the basic principle of the money-reaching poem. He particularly valued the promotion of poems “background” in the poems, but Money Book was deeply dissatisfied with his approach. He published a lo