“燕岩体”研究

发布时间：2018-05-23 16:13

本文选题：燕岩体 + 实学　；参考：《天津师范大学》2012年硕士论文

【摘要】：“燕岩体”产生于18世纪末的朝鲜半岛,它是由朴趾源在其燕行文学《热河日记》中开创的一种以散文为主,集散文、小说、诗歌于一体的文体。这种文体自由、灵活,具有反传统、反封建色彩。本文结合了众多文献、研究成果对“燕岩体”的产生渊源、发展过程、文体特点、审美特点作了系统的研究,试图对这种文体达到更清晰、理性的认识。全文分为四章。第一章就“燕岩体”的产生背景作了详细论述。“燕岩体”的产生可以说是当时朝鲜半岛多种社会文化因素综合作用的结果。具体来讲,推动其产生的因素有：当时的国内的实学思想；中国明清小说的输入；西学的传播。而学术界的性理学；传统的封建礼制；李朝政府的文化镇压则在很大程度上制约并阻碍了“燕岩体”的发展。在论文的第二章,笔者梳理了“燕岩体”的发展过程。这个过程经历了四个阶段：朴趾源的《热河日记》是其滥觞期；以朴齐家,李德懋为代表的白塔文人群体的时宜文创作是燕岩体的发展期；以李相横、赵秀三为代表的小说创作可以说是燕岩体发展的高潮阶段；燕岩体风靡引起了正统文学与封建统治集团的不满,最终正祖发动了“文体反正”运动,燕岩体因此衰落下去。关于“燕岩体”的文体特点,笔者在第三章从内容和形式两方面作了细致的论述。从内容上讲,“燕岩体”具有着求实性追求,平民化及民族化倾向。从形式上讲,“燕岩体”以散文创作为主,并综合运用小说、诗歌等多种文体,使之呈现出“杂体文”特色；语言上灵活、幽默,具有很强的时代性和可读性。在论文的第四章,笔者对“燕岩体”所呈现出的审美特点进行了总结和概括。与传统的古典汉文学相比,“燕岩体”在美学风格上具有了一定的现代意义。从审美形态上来讲,“燕岩体”有着很强的“散体性”追求。这种“散体性”追求包括两个方面：叙事性突出,抒情性淡化；主体性突出,载道性淡化。从审美功能上讲,“燕岩体”打破了传统汉文学的自上而下的文化整合的审美功能,彰显了形而下的具有颠覆色彩的审美功能。就此而言,我们可以说“燕岩体”在一定程度上开启了朝鲜半岛文化现代性的先声。
[Abstract]:Yan Yan Rock came into being in the Korean Peninsula at the end of the 18th century. It is a prose, novel and poetry style created by Park Yuanyuan in his Yan Xing Literature, Jehol Diary. This style is free, flexible, anti-traditional and anti-feudal. In this paper, the origin, development process, stylistic features and aesthetic characteristics of Yan rock mass are systematically studied in order to achieve a clearer and more rational understanding of this style. The full text is divided into four chapters. In the first chapter, the background of Yan rock mass is discussed in detail. The formation of Yan rock mass can be said to be the result of a variety of social and cultural factors on the Korean Peninsula at that time. Concretely speaking, the factors that promote its emergence are: the thought of practical study at that time; the input of Chinese novels in Ming and Qing dynasties; and the dissemination of western learning. However, the academic theory of sex, the traditional feudal ritual system and the cultural repression of the Li Dynasty government restricted and hindered the development of Yan rock mass to a great extent. In the second chapter, the author combs the development process of Yan rock mass. This process went through four stages: Park Yuanyuan's Jehol Diary was its origin; the timely literary creation of the Bai Ta literati group, represented by Park Qijia and Li Demao, was the development period of the Yan rock mass; and Li Xiangheng was the period of development of the Yan rock mass. The novel creation represented by Zhao Xiusan can be said to be the climax stage of Yan rock mass development; the popularity of Yan rock mass aroused the dissatisfaction of orthodox literature and feudal ruling group, and finally the founder launched the "style anyway" movement, which led to the decline of Yan rock mass. In the third chapter, the author makes a detailed discussion on the stylistic features of Yan rock mass from two aspects: content and form. In terms of content, Yan rock mass has the tendency of seeking reality, popularizing and nationalizing. Formally, Yan Yan Yan In the fourth chapter, the author summarizes and generalizes the aesthetic characteristics of Yan rock mass. Compared with the traditional classical Chinese literature, Yan Yan Yan in aesthetic style has a certain modern significance. In terms of aesthetic form, Yan rock mass has a strong pursuit of "scattered nature". The pursuit of "bulk" includes two aspects: prominent narrative, lyric desalination, prominent subjectivity and desalination of Tao. In terms of aesthetic function, Yan Yan Rock breaks the aesthetic function of cultural integration from top to bottom in traditional Chinese literature, and demonstrates the aesthetic function with subversive color. In this regard, we can say that Yan rock mass to some extent opened the cultural modernity of the Korean Peninsula.
【学位授予单位】：天津师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I312.06

【参考文献】