空間與記憶：唐詩的曲江書寫

摘要本文題為「空間與記憶：唐詩的曲江書寫」，以唐代詩人的曲江書寫為研究對象，結合空間與記憶相關研究成果，試圖探究唐代詩人和曲江之間的互動關係。當詩人身處曲江時，他們的身體和曲江空間如何交織；當他們離開曲江後，又是如何追憶懷念曲江。在此基礎上，我們可以重新探究曲江對於唐代詩人，對於唐朝的意義和價值，曲江的場所精神等新的問題，既為曲江研究開闢新的視角，也為唐詩研究提供新的論證。本文第一章為緒論，首先進行論文的研究概述，論述研究曲江的緣由以及目的。其次分為「曲江研究」、「身體與空間研究」以及「記憶研究」三個方面進行研究回顧，最後是關於本文的研究範圍和章節安排。第二章將對曲江進行一個歷史和空間兩方面的完整呈現。首先對曲江進行一個從唐前到整個唐代的歷史回溯，釐清每個階段曲江的發展，從而對曲江有一個歷史性的了解。其次，通過對園林空間建築的設計去呈現一個立體的曲江。在唐代，曲江是一個公共園林，因此可以分為許多區域，每個區域都有其各自的特點，重新呈現這些區域的園林建設能夠帶領我們更好地認識曲江，也為下文寫身體和空間的交織做鋪墊。當然園林是自然和人文的統一，空間的呈現也離不開人的身影，對唐人的遊宴、節慶活動等關注也必不可少。第三章將通過園林中「遊」這一活動去闡釋身體和空間的交織。這種交織是複雜的，因為在這個過程中涉及到了身體與內在和外在空間雙重空間的關係。「身體」可以通過感官去感受「外在空間」，而「身體」又可以呈現出「內在空間」，「外在空間」又具有「自然」和「人文」雙重內涵，甚至「外在空間」都能通過「身體」展演出來。這些匯集到來到「曲江」這個「空間」的詩人中，則又展現出複雜的「身體感」，其中主要的兩個典範就是「人間仙」和「籠中鳥」，這也側面折射了「曲江」的空間內涵——自然空間中的閒適以及人文空間中的仕途主題。第四章將探討當曲江不在場時，詩人如何去追憶曲江。當詩人離開曲江之後，曲江就從一個「空間」轉變成一個有意義的「地方」。詩人不斷地透過「斷片」，透過「錯覺」去追憶這個「地方」，這些都成為追尋記憶的切入點。而其不斷追尋的原因不僅在於「曲江」的自然和人文之美，更在於「曲江」包孕了詩人人生的巔峰，也蘊含了整個王朝的盛世繁華。這種「記憶」不僅僅屬於個體，也屬於集體，兩者往往是相互交織的。第五章將從經歷和記憶的交織這一角度來探究曲江的紀念碑性。曲江的歷史記憶和長安緊密相連，它是長安的標誌和象徵。而另一方面，曲江又是屬於個體的曲江，許多詩人的一生都和曲江相互纏繞、交織。曲江承載了漫長的歷史積澱，同時也離不開詩人的現實經驗。無論是在時代的歷史中，還是在詩人的記憶中，曲江都具有強烈的紀念碑性，這一點將會通過曲江懷古這一現場來進行詳細論述。在最後的總結部分，我們將回顧唐代曲江書寫的流變。在唐代詩人筆下，「曲江」從一個地名完成了意象化的建構。而另一方面，自然的氛圍，科舉的悲歡，隱逸的情懷，厚重的歷史，這些共同熔鑄了曲江的場所精神，這些場所精神早就了曲江的獨一無二，既使得曲江和長安城中的其他城市空間區隔開來，也使得曲江在歷史上具有獨特的紀念碑性。

關鍵字

曲江；身體；記憶；空間；場所精神；紀念碑性

並列摘要

Abstract This paper is named in Space and Memory: Qujiang Writing in the Tang poetry. By combing the research results on the space and memory, the Qujiang writing in the Tang poetry is taken as a research object, it is hoped to explore the interaction between poets in Tang Dynasty and Qujiang. How did the poets mingle with Qujiang while they were living in there? How did the poets recall the memory when they left? The exploration on the relationship between Qujiang and poets in the Tang Dynasty, the significance and value of Qujiang to the social situation at that time, and the geniusloci of Qujiang can be start afresh on these bases. In this way, it not only provides Qujiang new perspectives, but also is given a new argument for the study of Tang poetry. Chapter I: Introduction – This part first summarizes the research, discusses the reason and purpose of Qujiang research, then reviews from Qujiang research, body and space research, and memory research. Lastly, it involves the research scope and chapter arrangement of this paper. The second chapter is about a complete presentation in terms of history and space of Qujiang. First of all, carrying out a historical review of Qujiang from the pre Tang Dynasty to the whole Tang Dynasty and clarifying the development of Qujiang in each stage which enables the readers have a historical understanding of Qujiang. Secondly, through the design of garden to present a three-dimensional Qujiang. In the Tang Dynasty, Qujiang was a public garden, which was divided into many areas and each region had its own characteristics. If the landscape construction of these areas is re presented, it will lead us to better understand Qujiang and pave the way for the interweaving of body and space. On the other hand, gardens are the unity of nature and humanity, and the presentation of space is inseparable from man kind. Therefore, it is necessary to pay attention to the banquets and festivals of the Tang people. The third chapter is explaining the interaction between body and space through tour in the garden, which is complicated since it involves dual relationship between the body and the inner and outer space. The body can sense the space, and the body can present the inner space which has dual connotations, that is, nature and humanity. Even the outer space can be expressed through body. When these poets came to the space, Qujiang, they showed complicated body senses, of which two main models are paradise and prison. This also reflects the spatial connotation of Qujiang, that is, leisure in natural space and career theme in human space. The fourth chapter discusses how did the poets recall the memory of Qujiang when they were not there. When the poet left Qujiang, Qujiang changed from a space to a meaningful place. The poet constantly recalled the place through fragments and illusions, which became the breakthrough point of pursuing memory. The reason for its constant pursuit is not only the natural and humanistic beauty of Qujiang, but also the achievement peak of their own and the prosperity of the whole dynasty. This kind of memory is interactive, which not only belongs to the individual, but also belongs to the collective. In the fifth chapter, an exploration on the monumentality of Qujiang from the perspectives of experience and memory is conducted. The historical memory of Qujiang is a symbol that closely related to Chang'an. On the other hand, Qujiang is an individual. Vast many of poets have been interacted with Qujiang in their life. Qujiang carries a long history of accumulation, but also inseparable from the poet's practical experience. Whether in the history of the times or in the memory of the poet, Qujiang has a strong monumentality, which will be discussed in detail through the scene of the nostalgia of Qujiang. In the last part, we will review the evolution of Qujiang writing in Tang Dynasty. In the poems of Tang Dynasty poets, Qujiang has formed an image construction from its name. On the other hand, the natural atmosphere, the joys and sorrows of the imperial examination, the feelings of seclusion, and the rich history all contribute to the geniusloci of Qujiang. And the geniusloci makes Qujiang unique, which not only separates Qujiang from other cities in Chang'an City, but also makes Qujiang have a unique monumentality in history.