清初遗民之“乐”与明清之际文化考察

发布时间：2018-10-31 16:17

【摘要】：传统的遗民论述形塑了明遗民处清世的基础形象：严肃森然、郁郁寡欢、愤世嫉俗。几近形成了某种标准化的书写规范。但事实上，遗民社会也固有人性化的生动面，其形迹和心迹都呈现出繁复的差异性，任何笼统的描述都难以尽之。因此，本文以遗民的“乐”为视角，试图复原遗民社会生动、丰满的生活形态；并将“乐”视为一种文化现象、一种分析工具，发露遗民群体复杂而隐微的精神世界，展现明清文化转捩之际的人文风貌，从一个侧面观察遗民这一族群及其所代表的文化形态的历史走向。第一章，提供“乐”的五类示例，表明遗民的真实生活并不如遗民录的读者所想象的凄惨万状。第二章，以“乐”为视角分析遗民的处世心态。整体上将遗民分为愤世和适世两类。愤世者固然有快乐，但在他们的精神世界，“乐”是一种被拒绝的情绪。适世者重建了人生的常态，对生活的闲适趣味不再摒绝于外。但适世之中仍存在两种情形，或心怀苦涩、或处变不惊，此即屈从、通达之别；而襟抱和动机的个体殊异，又使通达者的“遗民”境界人各不同。第三章，对“乐”进行文化、思想的解读。作为一种文化现象，“乐”产生于晚明洒脱、活泼的士人风习的惯性；作为一种生活选择，“乐”是遗民对其“遗民”身份、文化品位的自觉体认。因此，“乐”又可视作遗民变相的社会文化对抗。而视乎遗民对乐的自觉追求，甚至开展出分外丰富的表现形式及言说方式，则与此一时期思想领域对自然人性的情感、欲求、私利的肯认有关。第四章，解读“乐”的悲剧性文化归宿。时间的流逝、时局的转换，不仅使遗民的自然生命磨损、陨落，甚至以“乐”为表征的人文风貌、“遗民”品性，也在不可避免的遗失当中。这是“乐”的悲剧，，也是遗民这一族群、一个朝代、一种文化形态的悲剧。
[Abstract]:The traditional exposition shapes the basic image of Qing Dynasty in Ming Dynasty: serious, melancholy and cynical. Almost formed some kind of standardized writing standard. But in fact, the society of the bereaved people also has the vivid aspect of humanization, its sign and the mind show the complicated difference, any general description is difficult to finish. Therefore, from the perspective of the "music" of the survivors, this paper attempts to restore the vivid and full life form of the society. "Music" is regarded as a cultural phenomenon and an analytical tool, which reveals the complex and subtle spiritual world of the bereaved people, and shows the humanistic style and features of the cultural transition of the Ming and Qing dynasties. To observe the historical trend of this ethnic group and its representative cultural form from one side. The first chapter provides five kinds of examples of music, which show that the real life of the survivors is not as miserable as the readers. The second chapter analyzes the mentality of the bereaved people from the perspective of music. As a whole, the bereaved people are divided into two categories: indignant and suitable. Angry people are happy, but in their spiritual world, joy is a rejected emotion. The fittest have rebuilt the normal of life, and the leisure of life is no longer excluded. However, there are still two kinds of situations in the world, either bitter in heart or undisturbed, which is subservient and different, and the difference of the individual of the mind and the motive makes the state of the "bereavement" of the savvy different. The third chapter, the cultural, ideological interpretation of music. As a kind of cultural phenomenon, "Yue" comes from the inertia of the free and easy and lively scholars' customs in the late Ming Dynasty, and as a kind of life choice, "Yue" is the conscious recognition of the "bereaved" identity and cultural taste of the bereaved people. Therefore, music can be regarded as the social and cultural confrontation of the bereaved people. Depending on the people's conscious pursuit of music, and even developing a particularly rich form of expression and speech, it is related to the emotion, desire and self-interest of natural human nature in the field of thought during this period. Chapter four explains the tragic cultural fate of Le. The passage of time and the transformation of the present situation not only make the natural life of the bereaved people wear down and fall down, but also make the humanistic style and character characterized by "music" as the symbol, and the character of the "bereaved people" is also in the inevitable loss. This is the tragedy of music, and the tragedy of the bereaved people, a dynasty and a form of culture.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：K248

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