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The Poetics of X: The Xing Controversy in the Chinese Literary Tradition


長久以來,「興」都是個廣受爭論的議題。論者時常把它與《詩經》雙題並論,聯繫到《詩經》這部被認為是中國文學傳統中最早的詩歌選集內,有關指涉、詮釋和意涵的問題。本文討論「興」作為一概念、文類、文學技巧或是文學思維模式,如何被吸收於中國文化傳統之中,卻又不斷顛覆著傳統中關於指涉、詮釋和意涵的概念。能否釐清「興」的定義並非重點。正正是關於「興」的種種爭論,才顯現出它如何在中國文學與文化史中,挑起各種關於指涉、詮釋和意涵的反思。在某些詩句中,「興」確實是些需要被解讀的符碼,但它也是不同時代的人們一些重塑解碼過程的嘗試一些只能用X 去代表的不確定性和可能性。這也正正是本文認為「興」的意義所在。


詩經 指涉 比喻 轉義 文類 符號 中國詩學 中國文學史

Parallel abstracts

Xing is one of the most debated and elusive terms in the Chinese critical vocabulary. It is often associated with The Odes, which is widely considered the earliest anthology of songs in the Chinese literary tradition. This article discusses the ways xing, whether as a concept, a genre, a literary trope or a mode of literary thought, assimilates with the Chinese literary and cultural tradition, and at the same time unsettles the convention of meaning and signification. A conceptual definition of xing and the specific meanings of xings in The Odes may remain unknown. But that does not really matter. It is in its mobility across different signifying and conceptual schemes that xing continues to exist. The more or less 2000-year history of the xing controversy reveals that xing is not only about excavating things to be known, but also about postulating the unknown. Thus xing is constantly an X in terms of signification.


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