“碑禁”與曹魏西晉的石碑文化

本文以“碑禁”爲切入點探討曹魏西晉的石碑文化。“碑禁”不是“薄葬”措施的組成部分。其禁止對象並非主要由血緣性喪家負責的“厚葬”,而是“私立”,即門生、故吏這樣的非血緣性政治團體不經朝廷批准擅自立碑。石碑在曹魏西晉仍是備受整個統治階層認可的紀念裝置。不過與東漢後期相比,其适用標準大幅提升,變得“重器化”了。在奏請朝廷之後,上層精英多可獲得立碑資格。皇帝權力自身亦積極使用石碑以爲王權的象徵與紀念。所謂“碑禁”,並非是要禁絶石碑這一紀念裝置本身,也未必一定對門生、故吏所代表的非血緣性政治團體抱持敵對態度,而是要在“重器化”石碑的基礎上,將互爲表裏的二者制度性地納入皇帝權力結構之中,成爲精英階層可操控的政治資源。“碑禁”的出現,應視爲清流士人在漢魏之際掌握政治主導權之後,在皇帝權力結構的重構過程中,將自身所秉持的精英文化提升至王權層面進行再創造的結果。

The Petrified Utopia： Monumental Propaganda, Architecture Parlante, and the Question about （De）Materialisation of Monuments

The article examines the idea of monumentality （following Evgeny Dobrenko＇s concept of ＂petrified utopia＂） in Polish Socialist literature especially by analyzing Lenin＇s ＂monumental propaganda＂ and its influence on literary thinking. Starting from some details about Lenin＇s vision and plan, the article will further present how the act of transposition of a monument into texts---the act of materialization monuments in literary signs--causes some kind of monumental spectrality or dematerialization and as a consequence, the disappearance of art in Rancieran sense in which the art disappears when it becomes transparent for itself. To prove this thesis, the article will analyze two main architectural examples： Tatlin＇s Monument to the Third International （as the great realization of Lenin＇s doctrine） and Polish Palace of Culture and Science which was the theme of many Polish Socialist poems. In conclusion, the article will also present some broader perspective of modem architectural utopias and their spectrality.