《本文以文學史書寫中的韓愈詩歌評述為起點，聚焦於「奇險」概念的分析，區分隱含其中的文體論、創作論的面向，再進一步釐清兩面向中不同的概念層次，提舉出「奇險」概念的理論層級架構。接著，在此架構上發掘出隱含其中的「模糊中心」特質，最後探討此特質在流派體式建構上所衍生的「連類泛化」效用。韓愈詩歌的代表體貌為「奇險」，批評家提舉「奇險」為韓孟詩派的「體式」，並從「奇險」中擇取所需的概念面向進行詩派建構，如從「創作實踐」處取「苦吟」，並將「苦吟」與「吟苦」兩者「連類」，「泛化」了「苦吟」的概念內涵，同時也是泛化了「奇險」的概念內涵。由是，「奇險」概念不斷被批評家「連類泛化」，其內涵也越來越多面向，「模糊中心」的特質也越來越顯著，可包含的詩家也越多。 Based on the commentaries on Han Yu’s poetry in the history of literature, the focus was on the analysis of the “adventureful perspective”; the implied facets of stylistics and the creation theory are differentiated. The study furthermore aims to clarify various conceptual levels of the two facets and to propose the theoretical structure of the adventureful perspective. The researcher also anticipates exploring the feature of the fuzzy center and understanding the derived efficacy resulting from the links generalized with varied categories that construct the schooling style. Critics thought that the adventureful perspective is the stylistics of Han Yu, and the related poetry school was thus built. For instance, “Kuyin” was taken from the creational implementation and compared with “Yinku” to form a category between the two terms. The concept connotation of Kuyin and the adventureful perspective were both generalized in the same category. Consequently, the more critiques of generalized category, the more conceptual facets; the more significant characteristics of the fuzzy center, the more poetry schools that were established.
