宋代「詩詞辨體」之論述衝突所顯示詞體構成的社會文化性流變現象

The Changing Properties of the Formation of Chi and Its Social/Cultural Significance Revealed in the Conflict Arising from the Discourse Concerning the Differentiation of Poetry and Chi in Song Dynasty

顏崑陽(Kun-Yang Yen)

《中正大學中文學術年刊》 15期 (2010/06) Pp. 71-98

https://doi.org/10.7013/CCTHCWHSNK.201006.0071

摘要

詞體是什麼？有些詞學的論述者往往從體製形式上，做出固態、抽象概念的定義；有些詞史、詞學史的論述者，雖未對詞體直接定義，然而卻受到西方近現代美學的影響，選擇性地預設了某種絕對、唯一的本質觀及審美價值判準。依照這類定義，則詞體便只是固態物，缺乏歷史性及社會性存在的意義。而詞史、詞學史也被片面化、靜態化了。
本論文相對提出另向的思辨，涉入宋代「詩詞辨體」之論述衝突的歷史情境中，分析詮釋「詩詞分流」與「詩詞同源」二種對立性論述的文本，從而揭明：詞體不是一種固態的文化產物，而是一種具有內容意義卻又流變不定的文學形式，有其漫長、動態的「構成」歷程。在這歷程中，它的「本質」不斷被重新定義而付諸實踐，因此從體製、體式到功能、效用，都是一種動態性的流變現象，沒有人能爲它做出絕對、唯一的定義。
因此，「詞體」與「詞史」、「詞學史」三者無法切割去認識。它的實體雖有常模，卻必須經由詞家不斷的「論述衝突」及各自取向的「創作實踐」，才能以一種具有內容意義而又流變不定的文學形式，在歷史情境中顯現、存活。

關鍵字

宋代 ； 詩詞辨體 ； 論述衝突 ； 詞體構成 ； 社會文化性

並列摘要

In regard to the form of Chi. some discourses gave it a solid, albeit abstract, definition based on the form itself. Other discourses concerning the history of Chi and the history of Chi study, although not directly defining the form, presupposed some kind of absolute and unique view of essence and aesthetic judgment under the influence of modern western aesthetics. In this way, the form of Chi was solidly defined, while lacking historical and social meanings the history of Chi and the history of Chi study became both single-faceted and static. This study proposed another discursive direction. In the conflict arising from the discourse regarding the differentiation of the forms of poetry and Chi within the historic context of the Song Dynasty, two contrary ideas: ”separate origins of poetry and Chi” and an identical origin of poetry and Chi” have been analyzed and interpreted. As a result, a concept has been derived: Chi is not a static cultural product but rather an evolving literary form rich in meaning: it has undergone a long process of formation”, and its ”essence” has been continuously redefined. Accordingly, whether in terms of the form, function or effect, Chi exhibits a mobile and changing mechanism and should not be defined solely in one way. Therefore, ”the form of Chi”, ”the history of Chi”, and the history of Chi study” can not be explored separately: although the form of Chi has some norms, it can exist in the historical context as an unfixed literary form that teems with connotations with the infusion of critics' ”discourse conflicts” and their individual ”creation practice.”

並列關鍵字

Song Dynasty ； differentiation of Poetry and Chi ； conflict arising from the discourse ； formation of Chi ； social/cultural significance

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