南朝辞赋之诗化问题探究

发布时间：2018-02-16 03:04

本文关键词： 南朝辞赋诗化诗缘情诗赋欲丽　出处：《浙江大学》2015年硕士论文　论文类型：学位论文

【摘要】：南朝辞赋之诗化,是辞赋研究的重要问题,也与南朝诗歌的发展息息相关,本文研究南朝辞赋的诗化,首章上溯先秦两汉的诗赋创作观念,发现辞赋在起源和早期创作中就受到诗歌创作和儒家诗教的影响,其后辞赋发生诗化,有着历史原因。同时还探究了 "诗化"概念,认为辞赋之诗化与时代之创作观念和审美思维变更有关。第二章中,本文看到骚体与小赋在形式内容上的差异性,立足于辞赋的分类,从骚体之诗化与小赋之诗化两方面入手,提出骚体与小赋诗化,其相同点表现在五七言诗句入赋和创作题材与创作审美的俗化上,而其差异,在骚体中表现为抒情主体的淡出,抒情方式变更,在小赋中表现为创作模式的新变,即从观物赋德到个体移情的发展。南朝辞赋诗化,外在表征是五七言诗句入赋,而其内在表征则是诗赋创作理念和审美思维的趋同,因而第三章中,本文论述诗赋之创作理念,认为诗赋共同受儒家诗教"诗言志"及其后在"诗言志"基础上发展的"诗缘情"、"吟咏情性"观念影响,在这种创作理念下,骚体中的情境逐渐向意境过渡,小赋"体物"特征则发展为物境构建。第四章论述诗赋之审美思维,探索诗赋之"丽"含义在历代的发展和丰富,同时指出在实践创作和文学理论中,诗之"丽"与赋之"丽"概念逐渐趋同,共同表现为对语言浅易化的追求,对音韵格律的重视,及对语言抒情的审美内涵的重视。第五章则提出南朝辞赋的诗化,是辞赋对文学审美的主动靠近,而非被动的"被融合",辞赋句式具有强大的兼容内化功能,南朝辞赋中仍旧包含的辞赋本质特点。除此之外,从南朝同题诗赋创作角度入手,认为诗赋在同题材的创作中并未完全趋同,有着自身的创作选择和倾向。
[Abstract]:Poetry of ci Fu in the Southern Dynasty is an important issue in the study of ci Fu, which is closely related to the development of poetry in the Southern Dynasty. This paper studies the poetic style of ci fu in the Southern Dynasty, the first chapter of which goes back to the ideas of poetry creation in the pre-Qin and Han dynasties. It is found that ci Fu was influenced by poetry creation and Confucian poetry education in its origin and early creation, and then poetry took place for historical reasons. At the same time, it also explored the concept of "poetic". In the second chapter, the author points out that the difference between Sao style and Xiao Fu in form content is based on the classification of ci Fu, starting with the poetic style of Sao style and the poetic style of Xiao Fu. It is pointed out that the similarities between the Sao style and the small poetic style are reflected in the vulgarization of the poem lines in the five and seven characters and the themes of creation and the aesthetic appreciation of creation, while the differences in the poetic style are manifested in the fading out of the lyric subject and the change of the lyric way. In Xiaofu, there is a new change in the creation mode, that is, from the view of objects to the development of individual empathy. In the Southern Dynasty, the poetic expression of ci Fu is the introduction of five or seven words of poetry into Fu, and its internal representation is the convergence of the creative ideas and aesthetic thinking of poetry and Fu. Therefore, in the third chapter, this paper discusses the creation idea of poetry and Fu, and holds that poetry and Fu are influenced by Confucian poetry teaching "poetic aspiration" and the later "poetic fate" and "chanting sentiment" concept based on "poetic ambition". The situation in Sao body is gradually transitioning to artistic conception, and the characteristics of "body and object" of Xiao Fu develop into the construction of object boundary. Chapter 4th discusses the aesthetic thinking of poetry and Fu, and explores the development and enrichment of the meaning of "beauty" of poetry and Fu in the past dynasties. At the same time, it is pointed out that the concept of "Li" and "Li" of poetry gradually converge in practical creation and literary theory, which is shown by the pursuit of easiness of language and the emphasis on the rhythm of rhyme and rhyme. In Chapter 5th, it is pointed out that poetry of ci Fu in the Southern Dynasty is the active approach to literary aesthetics, rather than passive "being merged", and the sentence pattern of ci Fu has a strong compatible and internalized function. In addition, from the perspective of the poetry and Fu of the Southern Dynasty, the author thinks that poetry and Fu have not completely converged in the creation of the same subject matter, and have their own creative choice and tendency.
【学位授予单位】：浙江大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I207.22

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