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先秦士人的“雕龙”风范是扬雄在其晚年发出“雕虫”之叹的文化背景,是对西汉士人文章对于政治的话语影响力日益衰微的一种苦涩表达。从扬雄到刘勰,“雕虫”和“雕龙”这两个概念的对照也显得意味深长。“雕虫”在扬雄那里虽然不是对于“文”的完全否定,但显然有着反对文滥的强烈忧患,是以“破”的消极倾向为主的;“文弊”的这一忧患虽然也被刘勰所继承,但刘勰是以“破”而求“立”的,是从积极的方面认定和规范“文”的价值的,所以他用“雕龙”。
The “Dragon Carving” style of Pre-Qin scholars is the cultural background that Yang Xiong sighs in his later years. It is a bitter expression of the deteriorating influence of literati articles on politics in the Western Han Dynasty. From Yang Xiong to Liu Xie, the comparison between the two concepts “carving insect” and “carving dragon” also seems meaningful. Although the “carnivore” is not a complete negation of “Wen” in Yang Xiong, it is clear that there is a strong affront to the literary abuse, which is based on the negative tendency of “broken ”; “ Although Liu Sui’s inheritance is still a matter of his concern, Liu Xie identified and regulated the value of Wen from a positive point of view Use ”Diao Long ".