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標題: | 超越典範:中古韻書與清代古音學的開創 More Than Paradigm: The Middle Chinese Rhyme Books and The Founding of Old Chinese Study in Qing Dynasty |
作者: | 陳有宜 Yu-Yi Chen |
指導教授: | 李存智 Chun-Chih Lee |
關鍵字: | 中古韻書,韻書史,清代古音學,顧炎武,江永, Middle Chinese rhyme books,the Old Chinese Study in the Qing Dynasty,Gu Yanwu,Jiang Yong, |
出版年 : | 2023 |
學位: | 碩士 |
摘要: | 清代古音學以「推明古人用韻範圍」為目標,透過考察文獻、審辨音理上推古音真相。本論文聚焦於古音學「觀念論」與「方法論」層面的問題,認為由顧炎武(1613-1682)倡舉的「音學」,在江永(1681-1762)的論述下,才真正確定學科的核心觀念與最終追求。
顧炎武以古文獻中不言「韻」字,主張以「音學」指稱古音研究,著《音學五書》力除宋人叶音通轉之說。顧氏繼承陳第(1541-1617)的語音觀念,認為《詩經》用韻乃古人之「本音」,今人以「錯誤」的音韻讀詩,將無法通達古意,因此「音學」的目標,乃在於「改正」今音、「復原」古音,具體方法即為「離析唐韻」。相較於此,江永則能客觀看待語音演變,他繼承並修正顧炎武所劃定「音學」的範圍與內容,最終使「音學」的終極目標轉向「考古」、「存古」,確立了「音學」此一學科的學術性格。 本論文主張,從顧炎武到江永,清代古音學歷經了核心觀念與終極目標的轉變,而此一轉變即具體體現在他們對於「中古韻書」的論述上。顧炎武痛陳「今音行而古音亡」、「韻書行而古詩廢」,並將今音韻書的「錯誤內容」視為建構古音的過程中必須要破除的迷障。為此,他重新梳理韻書源流,標舉《大宋重修廣韻》作為主要批判的對象,《廣韻》也因此被學者視為中古時期的代表韻書。江永並不認可顧炎武是古非今的態度,而是肯定韻書「紀錄語音格局」的貢獻,認為六朝時有韻書保存當世之音乃是文人之幸,所作《古韻標準》旨在以一本獨立的韻書重現「古音」用韻的情況,也因此破除陳第、顧炎武二人對於一本「理想的韻書」要能縱貫古今的想像。 從前學者並未留意,顧炎武選擇了《廣韻》作為今音韻書的代表,重新建構韻書傳統,可說是改寫了韻書史,促成一次後設的典範轉移。透過與《廣韻》交鋒、對話,顧炎武建立一套以「認識韻書體製」為「認識古音」之門徑的研究方法,並使《廣韻》登上學術舞台,影響至今不輟。 顧炎武從「時代」著眼,劃定「音學」畛域;江永繼承了此一名目,但擴充了它的範圍與內涵,從而奠定清代古音學基礎。本論文的貢獻在於呈現清代古音學「開創時期」所歷經的觀念轉向,並指出此一轉向的關鍵正在於顧、江二人對「韻書性質」認識的不同。藉由梳理韻書傳統與韻書典範的轉移,詳細分析顧、江音學論述,本論文具體呈現「古音學史」與「韻書史」兩條脈絡的交會,並試著以此視角重述清代古音學「開創時期」的各種嘗試與辨證,使清代古音學的論述更加完備。 During the Qing Dynasty, the Old Chinese Study aimed to elucidate the range of rhymes used in ancient times. This was achieved through the examination of historical documents and the scrutiny of phonological principles to deduce the truth about ancient phonology. This paper focuses on the conceptual and methodological issues within the field of “Old Chinese Study.” It argues that the core concept and ultimate goal of “音學” (Phonology), as advocated by Gu Yanwu (1613-1682), were truly defined through the discourse of Jiang Yong (1681-1762). By noting the absence of the character “韻” (rhyme) in ancient texts, Gu Yanwu advocated using “音學” to refer to the study of Old Chinese Phonetics. He authored “音學五書”(The Five Books of Phonology) to counteract the dominant theory of “叶音通轉” (xie-yin transformation theory) during the Song Dynasty. Following the opinion of Chen Di (1541-1617), Gu Yanwu believed that the rhymes used in the “Book of Odes” indeed represented the ancient “original sounds.” Reading the odes with Contemporary Chinese is a form of “mispronunciation,” which would lead to a misunderstanding of the true meaning of the classics. Therefore, the objective of “音學”was to “correct” the Contemporary Chinese and “restore” the Old Chinese, with “departing Tang rhyme.” as the specific method. In contrast, Jiang Yong maintained an objective perspective on phonetic evolution. He inherited and refined Gu Yanwu's definition and scope of “音學,” eventually shifting its ultimate goal from retroism to an academic orientation. This paper asserts that from Gu Yanwu to Jiang Yong, the field of Old Chinese Study underwent a transformation in core concepts and ultimate objectives, which is evident in their discourse on the “Middle Chinese rhyme books.” Gu Yanwu vigorously affirmed that “Contemporary Chinese has replaced Old Chinese,” and that “the emergence of rhyme books has undermined the ancient poetry,” considering the “erroneous content” of rhyme books as obstacles that must be overcome in the reconstruction of the Old Chinese. Therefore, he reexamined the origins of rhyme books, singling out the “大宋重修廣韻(Guangyun)” as his main target of critique. As a result, “廣韻” came to be regarded by scholars as representative rhyme book of the Middle Chinese period.Jiang Yong, on the other hand, did not endorse Gu Yanwu's stance that the ancient was right and the contemporary was wrong. In contrast, he commended the contribution of rhyme books in “recording phonetic patterns” and believed that the existence of rhyme books, in which the sounds of Middle Chinese were preserved, was a stroke of luck for scholars. His “古韻標準” (Standard Rhymes of the Ancient Times) aimed to portray the structure of “Old Chinese rhymes” through an independent rhyme book. Consequently, he dismantled the notion shared by Chen Di and Gu Yanwu that an “ideal rhyme book” should span from ancient to contemporary times. Earlier scholars had not noticed that Gu Yanwu's selection of the “廣韻” as a representation of rhyme books had, in fact, reconstructed the tradition of rhyme books. This could be seen as a rewriting of the history of rhyme books and triggered a paradigm shift in the field. Through engaging with “廣韻,” Gu Yanwu established a research methodology centered around “studying the structure of rhyme books” as a pathway to “studying Old Chinese.” This introduced “廣韻” into academia, and its influence endures to the present day. Gu Yanwu delineated the scope of “音學” with retroism. Jiang Yong inherited this framework, expanding its scope and significance, thereby establishing the foundation of Old Chinese Study in the Qing Dynasty. This paper's contribution lies in presenting the conceptual shifts during the “pioneering period” of Old Chinese Study in the Qing Dynasty, highlighting a key divergence in the understanding of “the nature of rhyme books” between Gu and Jiang. By revisiting the tradition and the paradigm shifts of rhyme books and by conducting a detailed analysis of the phonological discourses of Gu and Jiang, this paper presents the convergence of two scholarly domains: “Old Chinese Study” and “history of rhyme books.” It attempts to reinterpret the various endeavors and validations during the “pioneering period” of Old Chinese Study in the Qing Dynasty, comprehensively enriching the discourse of the Old Chinese Study. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/89851 |
DOI: | 10.6342/NTU202303791 |
全文授權: | 同意授權(全球公開) |
顯示於系所單位: | 中國文學系 |
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