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為誰粉碎到虛空：1924 年 「雷峰塔圮」事件的詩詞書寫=For Whom Shattered to the Void: The Writing of Old Style Poetry on the Collapse Event of Leifeng Pagoda in 1924 |
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| 著者 |
張子璇 (著)
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| 掲載誌 |
臺大中文學報=Bulletin of the Department of Chinese Literature N.T.U.
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| 巻号 | n.79 |
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| 出版年月日 | 2022.12 |
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| ページ | 174 - 228 |
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| 出版者 | 國立臺灣大學中國文學系 |
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| 出版サイト |
http://www.cl.ntu.edu.tw/riki/riki.php?CID=1
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| キーワード | 雷峰塔; 清遺民; 公共文化事件; 陳曾壽; 個體生命事件 |
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| 抄録 | 作為舊體詩壇公共文化事件的「雷峰塔圮」具備參與者眾多、曠日持久的特點，詩人們題詠的對象多是出土的殘磚、石刻、經卷等雷峰塔的「遺珠」，而該公共事件的核心活動則是由周左季發起、陳曾壽實際主盟，清遺民群體以〈八聲甘州〉為詞牌題詠周左季所藏《寶篋印經》的唱和。值得注意的是，清遺民視倒掉的雷峰塔為政教存續戛然中斷的直觀象徵，黍離傳統下「黍離之悲―佛塔―國運」這一堅固的意義鏈條促使了雷峰塔在倒塌後完成了意義上的升格。在彌漫著末世劫灰之感的〈甘州〉唱和中，清遺民群體賦予雷峰塔以「龍」的新奇形象；同時，具有高度互文性的唱和文本中也充斥著各種類型的模糊與錯位：如遺民們藉助部分佛教詞彙中「龍」「王」「天」的字面來曲折表意、傷悼帝制等。
對特定詩人如陳曾壽而言，雷峰塔圮同樣也是他個體生命歷程中的重大災難事件。陳氏對雷峰塔有著極深的戀地情結，縱向考察陳氏自辛亥以降直至雷峰塔圮後這一階段內以雷峰塔為書寫對象的詩詞作品，可發現陳氏筆下雷峰塔形象、意義的變遷與陳氏心態嬗變之間的微妙關聯。此外筆者亦欲藉此文探討人、地與詩之間的互動，詩詞書寫對重大社會歷史事件的獨特承載力，二十世紀二十年代新舊文學間緊張微妙的關係等問題。
As a public cultural event in the old-style poetry circle, “Leifeng Pagoda’s collapse” is characterized by a large number of participants and a long period of time. The objects of poets’ inscriptions are mostly unearthed bricks, stone carvings, sutra and other “remains” of Leifeng Pagoda. The core activity of this public event was initiated by Zhou Zuoji; Chen Zengshou actually led the alliance, and the group of Qing loyalists used “Bashengganzhou” as the cipai to inscribe ci poetry on the Baoqieyinjing collected by Zhou Zuoji. It is worth noting that Qing loyalists regarded the collapsed Leifeng Pagoda as an intuitive symbol of the abrupt interruption of their regime and Confucianism. Under the “shuli” tradition, the strong meaning chain of “sorrow of shuli-Buddhist pagoda-national fortune” prompted Leifeng Pagoda to complete the upgrading of its meaning after its collapse. In the responsorial poems of “Ganzhou” filled with the feeling of eschaton, Qing loyalists endowed Leifeng Pagoda with a novel image of “dragon,” but at the same time, the highly intertextually responsorial text was full of various types of ambiguity and dislocation: For instance, loyalists used the literal meanings of “dragon,” “king” and “sky” in some Buddhist vocabularies to express their meanings in twists and turns, and mourned the monarchy.
For Chen Zengshou, a specifical poet in this event, “Leifeng Pagoda's collapse” was also a major disaster in his personal life course. Chen had a very deep topophilia with Leifeng Pagoda. I longitudinally investigate Chen’s poems which regarded Leifeng Pagoda as the object of the writing, from the 1911 Revolution to the after period of Leifeng Pagoda’s collapse. So we can find the subtle relationship between the evolution of Chen’s mentality and the changes in the image as well as meaning of the Leifeng Pagoda in Chen’s writings. In addition, I also intend to explore the interaction between poets, landscape and poetry, the unique bearing capacity of old style poetry writing to major social and historical events, as well as the tense and delicate relationship between the old and new literature in the 1920s. |
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| 目次 | 一、引言：詩詞書寫與雷峰塔形象、意義之嬗變 177
二、憑誰管領，萬古斜陽：作爲公共文化事件的「雷峰塔記」 179
三、五季、霸業與「龍」：黍離傳統與雷峰塔新形象新意義之生成 191
四、十年魂夢憑依處：作爲個體生命事件的「雷峰塔記」 207
五、結語與引論：關於二十世紀舊體詩詞研究的若干思考 216
引用書目 220 |
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| ISSN | 10132422 (P) |
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| ヒット数 | 96 |
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| 作成日 | 2023.07.25 |
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| 更新日期 | 2023.07.25 |
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