| 2007年历史文献学专业硕士论文摘要 |
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2007年历史文献学专业硕士论文摘要
1、康熙朝起居注制度研究
论文作者：李子明
导师姓名：李景屏
培养单位：历史学院清史所
论文名称：康熙朝起居注制度研究
中文摘要
起居注是历史文献中别具特色、价值独特的珍贵史料。《康熙起居注》作为清代正式设立起居注制度后修成的第一代起居注，而且保存较为完整，更是为史家所重视。以往对于康熙朝起居注的研究多着眼于起居注的内容，注重挖掘其独特的史料价值。对于起居注制度本身的研究则着墨不多。本文主要从起居注制度的设立、《康熙起居注》的编纂、起居注的废除的三个方面研究康熙朝起居注制度，希望能对我们更好地认识、利用《康熙起居注》乃至整个清代起居注资料做出贡献。文章主体包括三个部分即本文第2、3、4章。第2章介绍了康熙朝起居注制度的设立与起居注官的选任情况。关于起居注制度的设立，本文从清入关前的记事性满文档册谈起，重点研究了《皇父摄政王起居注》，认为其已经具备了起居注的特征；结合顺治末到康熙初年的政治背景，揭示了康熙朝起居注制度的设立经过，并对起居注设立的具体时间做了考证。关于起居注官的选任，本文主要研究了起居注官的来源、员额、选任方法、选任标准四个方面。本文第3章主要研究《康熙起居注》这一文本的编纂方法。根据起居注记载的主要内容，本文分别研究了御门听政、君臣对话以及内起居注制度三个方面。另外，本文还根据国家图书馆所藏《康熙起居注》残稿探究了起居注修订的原则与方法。本文第4章主要研究了康熙废除起居注的原因，并将其分为根本原因与直接原因两方面。在根本原因方面特别指出康熙对翰苑官员的不满是康熙废起居注的一个主要原因。关于直接原因的分析则在深入研究以往研究的不足的基础上，提出“朱天保上书”事件才是促使康熙废除起居注制度的直接原因，从而为我们研究这一问题提供新的思路。
英文摘要
The record of the emperor's daily activities is the unique precious materials of historical data.The Kanghsi Record of the emperor's daily activities,as the first record of theemperor's daily activities after system building, moreover preserved completely, is thought very importantly by historians.Formerly most researches focused The Kanghsi Record of the emperor's daily activities on it's content. they pay more attention excavates its unique historical data value. This article mainly focus on the establishment、compiling and the abrogating of The Kanghsi Record of the emperor's daily activities and hope to make the contribution to our use of The Kanghsi Record of the emperor's daily activities and even the entire Qing Dynasty record of the emperor's daily activities material well.The article's main body includ three parts.The 2nd chapter introduced the establishment of The Kanghsi Record of the emperor's daily activities system and the appointment of the record of the emperor's daily activities officials. About the record of the emperor's daily activities system's establishment, this article firstly introduce the record of Manchu script files,and put more emphasis on studing The Emperor Father Prince regent Record of the emperor's daily activities, think it has already had the characteristic of the record of the emperor's daily activities; According to the political background of Kanghsi's first year, this article point out the process of the setting up of The Kanghsi Record of the emperor's daily activities system and make the textual textual of concrete time.About record of the emperor's daily activities official's appointing, this article mainly studied the record of the emperor's daily activities official's origin, the specified number of personnel, the appointting method, the appointting standard.The 3rd chapter mainly studies the method of the compiling of the Kanghsi Record of the emperor's daily activities,According to the record of the emperor's daily activities record primary coverage, this article studied the imperial gate to administer the affairs of state separately, the rulers and the ministers responds as well as the Interior record of the emperor's daily activities system.Moreover, this article also inquire into the revision principle and the method of The record of the emperor's daily activities according to the incomplete manuscript collected in the Library national.The 4th chapter mainly studied the reason of the abrogating of the record of the emperor's daily activities system, and divid it into the basic reason and the immediate cause.In the basic reason aspect point out Kanghsi's repugnant to Academician courtyard official is a primary cause.About the immediate cause, basing on thorough analysis of the insufficiency foundation which the formerly studied, This article proposed the “Zhu Tianbao submits a written statement”was urged Kanghsi to abrogate the record of the emperor's daily activities system, thus provide the new mentality to our studies of this question.
2、古乐复兴之余波——雅俗分流格局下清代音乐史学思想的嬗变
论文作者：黄敏学
导师姓名：黄爱平
培养单位：历史学院清史所
论文名称：古乐复兴之余波——雅俗分流格局下清代音乐史学思想的嬗变
中文摘要
有清一代，学术昌明，清儒好古，考据之风大盛，经学亦随时势之变迁而演为朴学，诸经与音乐史学有关联者极多，故音乐史学在清代亦成为经生副业。经学既然昌盛，则六艺之一的“乐”便不能不讲；术艺既然进步，则作为乐学之基的律吕便能推求。两方面的条件均已具备，清代音乐史学也在这千载难逢的历史机遇中求得新的发展，伴随着清代学术的繁昌而与时俱进、互惠互利。伴随着中国古代音乐史学雅俗分流格局的演化，音乐史学思想亦呈现出其不拘一格与百家争鸣的发展态势。受雅俗分流格局之影响，复古与反复古两种思潮的论争作为音乐史家广泛关注的中心议题一直延续到清代。宋学在清初一度大行其道，也一直是政府所提倡的“官学”。康熙帝留心音律，御制《律吕正义》，理学名臣李光地辑《古乐经传》，朱子同乡汪烜撰《乐经律吕通解》，都不过是秉承宋儒复古主义思想之遗绪。“世或有得是说而参考以订之者，是亦复古以化民之一助也”。更有甚者，汪烜为达到其“三代之音由是而可复”的目的，居然要求“夫郑卫之音先王不以乱雅乐，而梨园杂剧，恒舞酣歌，败风乱俗，费财生祸，又不止于乱雅乐已也，此盛王之所不可不禁绝者也”，完全无视历史发展潮流，故其复古之迷梦自然也被无情的现实击得粉碎。其后徐养原在《律吕臆说》中探讨了雅乐失传、衰亡和俗乐递兴、繁盛的历史现象，并由此得出“雅俗之分段几希耳，非别有一声调谓之雅乐也”，而“雅乐之比音与郑声之比音大致不殊，将欲因其似以求其真，则吾谓郑声不可废”，因之提出“就俗乐而去其繁声即为雅音”的“因俗变雅”论，较为客观公正地分析了雅俗之乐相互影响、共同演进的发展历程，具有一定的历史进步意义。与此同时，清代音乐史学领域内反复古主义的声音日占上风，毛奇龄在《竟山乐录》中否定各种传统成说，提出“乐器不是乐”、“乐书不是乐”、“乐不分古今”的著名论断，认为“乐者人声也，天下几有人声而亡之之理？自汉后论乐，不解求之声，而纷论错出，人各为说，而乐遂以亡”，“儒者论乐，则又昧先古之意，贵贱雅俗，轇结不解”，“故设为雅俗之辨，欲使知音者勿过尊古，勿过贱今，谓当世之人为今人不为俗人，谓今人之声为人声不为今声，则于斯道有庶几耳。”汉学开山人物之一的江永则更是明确表示“古乐难复，亦无容强复”，认为“古乐之变为新声，亦犹古礼之易为俗习，其势不得不然。”故江永也提出“乐器不必泥古”、“度量权衡不必泥古”、“俗乐可求雅乐”，要求“为雅乐者，必深明乎俗乐之理，而后可求雅乐……未有徒考器数，虚谈声律而能成乐者也。”总之，随着中国古代音乐雅俗分流格局的最终确立和宋代以降民间音乐、戏曲的长足发展，“追复古乐而禁淫声”已不过是一班食古不化的“音乐理论家”的黄粱迷梦而已，“若不察乎流变之理，而欲高言复古……岂所谓知时识势者哉！”民间音乐的繁荣和宫廷雅乐的式微已成为不可逆转的历史趋势。在历经康乾之世和嘉道之际音乐史学领域内复古与反复古主义思潮的交锋、论争之后，中国传统音乐史学也渐入老境，日趋式微。随着西乐的大量输入和以学堂乐歌为先导的新音乐蔚然秀起，兴复古乐的呼声日趋微弱，“乐者古以平心论”之类的复古主义论调已为强弩之末，代之以输入西乐、改造国乐的“中国音乐改良说”。新音乐的曙光随着西乐的输入和旧乐的改造逐渐显现，中国音乐在西乐的推动下一扫千年之沉疴，师法西乐，变革自新，芟繁剔芜，返朴归真，遂成今日吾国音乐之崭新面貌。音乐文化的革故鼎新势必引起音乐史学的递兴嬗变，中国传统音乐史学也正是在这一历史潮流的推动下走向终结，迎来其现代化的转型与革新。
英文摘要
The learning in Qing Dynasty was very activities and presented a splendid sight in the history of Chinese ancient, some scholars paid attention to the part of theory on musical history. This thesis discussed the development of the theory of musical history in Qing Dynasty on the both aspects of music aesthetics and musical temperament. The theory and practice of music, especially that derived from Confucian philosophy, are extensively discussed in Chinese historical works, classical writings, musical treatises and private memoirs. The writing of dynastic histories began in the 1st century, mostly compiled during the dynasty immediately following by official historians who based their information on chronicles and other writings from previous regime; large-scale quotations from extant works were often incorporated verbatim in the histories. The so-called Chinese Classics make up the canon of Confucianism; many of them date from the latter half of the 1st millennium B.C. The passages on music tend to prescribe how and when music should be performed rather describe actual performances, but archaeological discoveries have supported many points in these writings. Confucius held that music should be used for education; he insisted that the moderation strictly applied in his teachings should also be manifested in music. Later Confucianists added metaphysical explanations of the elements of music, detailed descriptions of instruments and the rubrics of the ceremonies. Chinese chroniclers and official historians were mostly traditionalists and it is to be expected that they would exaggerate the influence of Confucianism. In their criticisms of the contemporary scene for its deviation from their ideal they revealed much about what was really happening at that time. This thesis studies the theory of musical history in Qing Dynasty. It focuses on discussing the content and the construction of the solemn courtly music. Its clue is to investigate the solemn courtly music in Qing Dynasty and make some descriptions of it according to its appearance in history by combining the background of the academic ideology in Qing Dynasty and the special historical and cultural background of The thesis refers to the dividing line in courtly music and folk music. These reveal the peculiarities of solemn courtly music in Qing Dynasty. Regarding the peculiarity of the ceremonies and music in Qing Dynasty culture, after having studied the ceremonies and music conception of the people, this thesis concludes that in Qing Dynasty the leading place of ceremonies was strengthened while the functions of the music became weaker: the systems of the ceremonies and music served the social estate system and the feudal power defended the ceremonies and music system in Qing Dynasty. Although these peculiarities had appeared in the former Dynasty, they were especially obvious.
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