批判、反抗与改编:艳诗评论及阐释话语的多向度建构

Criticism,Rebellion and Adaptation: Multi-dimensional Construction of Discourse of Remarks and Interpretation on Amorous Poems

"艳诗"概念的形成与"艳"一字的含义相关联,二者在过去的文化语境中皆因暗含"危险性"的因素从而被权力建构成了典型的负面形象,这类批判话语遂构成了艳诗评论的主基调,艳诗一词的内涵也因此具有了明显的意识形态意味。明清时期关于艳诗的评论出现了两类新型的话语,一者从"情本"论出发强调其独立的意义与价值,构成了一种反抗型的话语;一者或从"雅正"的角度为其划定范围,或声称艳诗也可含有寄托,从而构成了一种改编型的话语。这些观点皆与当时诗学发展的大方向具有较强的趋同性,并显示出人们希望从理论层面对艳诗形象进行重构的意图。然而儒家理念的意识形态主导权决定了批判性话语始终具有不可动摇的地位,且其至今仍发挥着强大的惯性作用,从而导致艳诗研究一直未能摆脱边缘化的境地。

The formation of the concept ＂amorous poem＂ related to the semantic meaning of the character ＂yan＂ （glamorous）, and both of them were constructed as typical negative images due to their implicit＂ dangerous factors＂ in the cultural context of the past. These critical discourses thus set the tone of remarks on amorous poems, and the connotation of amorous poems thence showed a clearly ideological implication. But two new types of discourse in the remarks on amorous poems emerged in the Ming and Qing Dynasties. One emphasized the independent significance and value by the theory of ＂ emotion-rootedness＂, and constituted a discourse of rebellion. The other formulated the scope of amorous poems by the concept＂ elegant legitimism＂, or claimed that amorous poems can also contain the element of sustenance, thus formed a discourse of adaptation. These views all displayed an obvious consistency with the environment of poetics at that time, and showed the intention that people wanted to reconstruct the image of amorous poems on the theoretical level. However, the ideological dominance of Confucianism determined that the critical discourse always took the unshakable advantage, and it still exerts a powerful inertial effect nowadays, which caused the marginalization of research on amorous poems.