“风骚”精神与晚清词学观的演进
发布时间：2018-08-27 14:46
【摘要】：“风骚”传统在词学发展史中发挥着重要作用。鉴于此,以“风骚”精神的继承和发展为线索,选择张惠言、陈廷焯、郑文焯、况周颐为词家代表,梳理出清末词家接受《风》《骚》艺术传统的历史进程,探寻“风骚”精神在词学观及其批评范式构建中的作用和意义。清末词家在继承“风骚”传统的基础上,以词为根本,从词体、词法、词学批评等角度出发,不断重塑着词学的内涵,也发展了“风骚”的精神实质。第一章以“风骚”之原义及其演变过程为根本,从“比兴”艺术手法、“风”的现实主义情感和“骚”的浪漫忧怨情怀角度,阐释“风骚”传统的精神实质,分析其在中国诗学史上的意义和作用。第二章以张惠言为代表,分析经学家汲取风骚精神的路径,指出其论词以儒家诗教思想为基础,以“风骚”精神为依托,主张推尊词体,提倡“意内言外”“比兴寄托”的论词方法,注重词的意格,追求“雅正”的品格以及“深美闳约”的词学批评标准,阐发了具有时代特色的词学经典观。第三章以陈廷焯为代表,分析诗学家吸收风骚精神的态度,依次从词体观、词史观、词学批评标准方面,分析其在不同时期树立的经典词人以及作品,探寻其“忠厚”之词心、“比兴”之词法、“敦厚”的词品等词学主张以及其词学批评标准的诗学底蕴。第四章以郑文焯为代表,分析倾向美学批评的词家传承风骚精神的特点,依次从他对“清空”“直寻”“赋比兴”的解读,阐述“风骚”精神影响下的词学批评体系。第五章以况周颐为代表,分析偏向艺术批评的词家继承风骚精神的态度,依次探讨了“词心”“襟抱”“词格”的词学主张所具有的风骚艺术精神。结语部分从晚清代表词家对“风骚”精神的继承与发展和“风骚”精神在文学、文艺学构建的意义角度,总结“风骚”精神在晚清词坛的地位及作用,揭示其对后世文学潜移默化的影响。
[Abstract]:The tradition of FengSao plays an important role in the development of ci poetry. In view of this, taking the inheritance and development of the spirit of "Feng Sao" as the clue, choosing Zhang Huiyan, Chen Tingzhuo, Zheng Wenzhuo and Kuang Zhou Yi as representatives of ci writers, the historical process of ci writers' acceptance of the art tradition of "Wind" and "Sao" in the late Qing Dynasty was sorted out. To explore the role and significance of FengSao spirit in the construction of ci theory and its critical paradigm. In the late Qing Dynasty, on the basis of inheriting the tradition of "Feng Sao" and taking ci as the foundation, from the perspective of ci style, morphology and ci criticism, ci writers constantly reshaped the connotation of ci poetry and developed the spirit essence of "Feng Sao". The first chapter is based on the original meaning and evolution process of "Feng-Sao", explains the spirit essence of "Feng-Sao" tradition from the angle of "Bixing" art technique, "Feng" 's realistic emotion and "Sao" 's romantic grievances. Analyze its significance and function in the history of Chinese poetics. The second chapter takes Zhang Huiyan as the representative, analyzes the way that the scholars learn the spirit of FengSao, and points out that his theory of ci is based on the Confucian poetic teaching thought, and based on the spirit of "Feng Sao", and advocates that the ci style should be pushed forward and respected. It advocates the method of "meaning inside words" and "Bi Xing sustenance", pays attention to the meaning of words, pursues the character of "elegance" and the standard of ci criticism of "deep beauty Hong covenant", and expounds the classical view of ci with the characteristics of the times. The third chapter takes Chen Tingzhuo as the representative, analyzes the poetics' attitude of absorbing the spirit of Feng Sao, from the aspects of ci style view, ci history view, ci criticism standard, analyzes the classical ci writers and works set up in different periods, and explores his "honest" ci heart. The ci-style of "Bi Xing", the propositions of ci-ci of "Dunhou" and the poetics of its standard of ci-poetry criticism. The fourth chapter takes Zheng Wenzhuo as the representative, analyzes the characteristic of inheriting the spirit of Feng Sao by the ci writer who tends to aesthetic criticism, and expounds the ci criticism system under the influence of the spirit of "Feng Sao" from his interpretation of "Qing empty", "direct search" and "Fu Bi Xing". The fifth chapter, represented by Kuang Zhouyi, analyzes the attitude of ci writers who are inclined to artistic criticism to inherit the spirit of Feng Sao, and then discusses the artistic spirit of ci style. The conclusion part summarizes the position and function of FengSao spirit in the late Qing Dynasty from the perspective of the inheritance and development of the spirit of "Feng-Sao" and the significance of the construction of "Feng-Sao" spirit in literature and literature. It reveals its influence on the literature of later generations.
【学位授予单位】：安徽师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.23
[Abstract]:The tradition of FengSao plays an important role in the development of ci poetry. In view of this, taking the inheritance and development of the spirit of "Feng Sao" as the clue, choosing Zhang Huiyan, Chen Tingzhuo, Zheng Wenzhuo and Kuang Zhou Yi as representatives of ci writers, the historical process of ci writers' acceptance of the art tradition of "Wind" and "Sao" in the late Qing Dynasty was sorted out. To explore the role and significance of FengSao spirit in the construction of ci theory and its critical paradigm. In the late Qing Dynasty, on the basis of inheriting the tradition of "Feng Sao" and taking ci as the foundation, from the perspective of ci style, morphology and ci criticism, ci writers constantly reshaped the connotation of ci poetry and developed the spirit essence of "Feng Sao". The first chapter is based on the original meaning and evolution process of "Feng-Sao", explains the spirit essence of "Feng-Sao" tradition from the angle of "Bixing" art technique, "Feng" 's realistic emotion and "Sao" 's romantic grievances. Analyze its significance and function in the history of Chinese poetics. The second chapter takes Zhang Huiyan as the representative, analyzes the way that the scholars learn the spirit of FengSao, and points out that his theory of ci is based on the Confucian poetic teaching thought, and based on the spirit of "Feng Sao", and advocates that the ci style should be pushed forward and respected. It advocates the method of "meaning inside words" and "Bi Xing sustenance", pays attention to the meaning of words, pursues the character of "elegance" and the standard of ci criticism of "deep beauty Hong covenant", and expounds the classical view of ci with the characteristics of the times. The third chapter takes Chen Tingzhuo as the representative, analyzes the poetics' attitude of absorbing the spirit of Feng Sao, from the aspects of ci style view, ci history view, ci criticism standard, analyzes the classical ci writers and works set up in different periods, and explores his "honest" ci heart. The ci-style of "Bi Xing", the propositions of ci-ci of "Dunhou" and the poetics of its standard of ci-poetry criticism. The fourth chapter takes Zheng Wenzhuo as the representative, analyzes the characteristic of inheriting the spirit of Feng Sao by the ci writer who tends to aesthetic criticism, and expounds the ci criticism system under the influence of the spirit of "Feng Sao" from his interpretation of "Qing empty", "direct search" and "Fu Bi Xing". The fifth chapter, represented by Kuang Zhouyi, analyzes the attitude of ci writers who are inclined to artistic criticism to inherit the spirit of Feng Sao, and then discusses the artistic spirit of ci style. The conclusion part summarizes the position and function of FengSao spirit in the late Qing Dynasty from the perspective of the inheritance and development of the spirit of "Feng-Sao" and the significance of the construction of "Feng-Sao" spirit in literature and literature. It reveals its influence on the literature of later generations.
【学位授予单位】：安徽师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.23
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