作為世界觀的漢學──阿列克謝耶夫（V. M. Alekseev,1881-1951）的中國古典詩論探析

Sinology as a Worldview – A Research on V. M. Alekseev’s (1881-1951) Views on Classical Chinese Poetics

歐洲漢學史分為西歐漢學、中歐漢學及俄國漢學，其中俄國漢學一直具特殊學術傳統，在世界漢學領域中有著極為重要學術貢獻。各國的漢學發展因受到諸多因素的影響，成就漢學在學術議題、方法、重點、價值等上的差異，使得世界漢學具有豐富多樣精采表現。二十世紀初的俄國漢學，無疑是漢學家成果豐碩熠熠生輝的時代，其中阿列克謝耶夫（V. M. Alekseev, 1881-1951）的研究決定了俄國二十世紀的漢學方向，並為後期漢學家奠定了學術基礎。
阿列克謝耶夫對漢學研究方法異於前期俄國漢學家所認為俄國漢學的必然封閉性，彰顯他的廣闊學術視野。阿列克謝耶夫的研究廣袤，涵蓋中國古典詩歌、古典小說、中國文學史、比較文學、俄國漢學、歐洲漢學、現代中國文學的改革等領域，雖然各有探究的價值，然筆者認為以阿列克謝耶夫的中國古典詩歌討論其學術貢獻具特殊角度，並且深具意義，採取的立場和論點的深度不僅有別於其他當時西歐漢學家，更體現在阿氏漢學思想脈絡中「自我」、「他者」之特殊互動關係，呼應十九世紀末二十世紀初俄國東方學家的學術型態。
阿列克謝耶夫的中國詩學看法受到二十世紀初俄國的學術環境影響，以及俄國傳統詩歌論，皆可在阿氏的論述觀其端倪。本文以「（詩）人」和「自然」之形象此兩個主軸展開討論，探究此學術影響。在此首先分析阿列克謝耶夫對中國詩論的研究所體現的俄國漢學新研究方法，及其意義所在；其次，透過探索此論述背後的近代俄國文藝理論影響，探究阿氏漢學之跨文化性價值所在。
本文聚焦阿列克謝耶夫的中國古典詩論，以司空圖（837-908）《詩品》的研究（1916年）、在法國巴黎Guimet博物館所介紹關於中國文學和詩歌的講稿（La Littérature Chinoise: Six conférences au collège de France et au musée Guimet, 1926年），以及從比較文學論文中，研究阿列克謝耶夫中國和歐洲古代、復興時代的詩學論述特色，以陸機（261-303）、宋濂（1310-1381）、袁黃（1533-1606）、賀拉斯（Horacius, 65-8 B.C.），布瓦洛（Nicolas Boileau，1636-1711）等作家的詩學論特色，考察他對中國、歐洲文學之間溝通的可能性、中國文學對世界文學定義所產生的意義和價值所在的看法。

Russian Sinology has played an important role and contributed to European Sinology in important ways. Sinological research in different countries is influenced by various factors, such as subject-matter, methods, research focus, values, etc., being a valuable heritage for world Sinology. For Russian Sinology the beginning of the 20th century is the time when numerous excellent scholars achieved remarkable results, among whom V. M. Alekseev (1881-1951) determined the course of sinological studies in Russia for the 20th century and established the basis for future sinologists.
In contrast to his predecessors who believed that Russian Sinology should remain in a closed system, Alekseev developed a broader view. The scope of Alekseev’s research is vast and ranges from Classical Chinese poetry, Classical prose, and Chinese literary history to Comparative literature, Russian Sinology, European Sinology, and Modern Chinese literature. Classical Chinese poetics has a special scholarly value in his work, as the perspectives and arguments he used are very different from other Western sinologists at the time, revealing the interaction between “self” and “other” in his overall sinological thought, which became an important subject-matter discussed by Russian Orientalists at that time.
This article argues that Alekseev’s views on Chinese poetics were influenced by the Russian academic environment at the beginning of the 20th century, as well as by traditional Russian poetics, and focuses on two images to prove this presupposition: poet and nature. First, it analyzes how Alekseev’s arguments on Chinese poetics embody the new methods in Russian sinology and their meaning; second, it extends this discussion to include Modern Russian literary theory, thus emphasizing the transcultural value of his sinological research.
In terms of research material, this article uses Alekseev’s Master thesis on Sikong Tu’s 司空圖 (837-908) Shipin 詩品 (1916), as well as the lectures on Chinese literature delivered at the Guimet Museum in Paris in 1926. It also includes texts with a subject-matter on comparative literature, which focus on a comparison between Chinese and European Classical and Renaissance poetics, in particular Lu Ji 陸機 (261-303), Song Lian 宋濂(1310-1381), Yuan Huang 袁黃 (1533-1606), Horace (Horacius, BCE 65-8), Nicolas Boileau (1636-1711). The article observes the ways in which Alekseev explores the values and possibilities of communication between China and Europe, and his views on the meaning of world literature.