论随园女弟子及其创作

发布时间：2018-09-16 19:02

【摘要】：清代女性文学的蓬勃发展已成不争的历史事实,崛起的闺秀诗人在这股创作的浪潮中有着举足轻重的作用。而在众多女性创作中,最负盛名的当数袁枚门下的随园女弟子。袁枚弃官而隐,独爱风骚,标举“性灵”,天下文士竞相涌之。更为重要的是,他广收女弟子,一时红粉青衣联袂而来,归附门下。袁枚的标举倡导与提携,也使得随园女弟子成为清中叶乾嘉时期女性文学高潮中不可或缺的一部分。我们把随园女弟子诗歌创作群体作为文学个案进行系统研究,尤其注意她们创作的个性与特点,包括群体性的和个体性的,来观照清中叶女性创作的审美心理和审美风尚,以及这个群体带来的社会价值和艺术价值。首先我们分析随园女弟子群体构成数量和方式以及由此而产生争议的原因,并且提出自己的看法和观点;其次,我们着重分析随园女弟子诗歌创作在题材方面的拓展与创新,前人多是写春闺秋怨,感物怀人之作,而女弟子在继承咏物、赠别、相思等传统之外,而女弟子还独辟蹊径的扩展了题材,开拓了作品的视野和范围,这里结合作品分别从山水诗、题画诗、唱和诗、哲理诗四个小节去阐述女弟子与传统女诗人创作的不同之处,突出女弟子主性灵重视情感表现的特征。再次,我们则由这种题材的选择去探究女弟子创作的艺术特征,主要是从随园女弟子温婉的气质去阐述其意象的选择,注重情感心理表现的纤细,同时又富有生活化、灵动而不显呆板的特点;她们作品语言则倾向于质朴无华,绝少有典故堆砌,给诗坛带来清新自然之风;由于深厚的文化素养和少约束,她们的创作艺术手法又多种多样,运用自然,与女弟子独特气质相协调,也与性灵派的诗学要求一致。最后,我们结合前面的分析,对随园女弟子创作做出较为客观的评判,认为随园女弟子的创作应是社会价值与文学价值并重的。当然,由于女弟子由于所处时代的原因及自身的缺陷,她们在创作上存在不足之处。但无论如何,随园女弟子在中国女性文学史上仍是一道绝美的风景线。
[Abstract]:The vigorous development of female literature in Qing Dynasty has become an indisputable historical fact, and the rising purdah poet plays an important role in the wave of creation. Among the numerous female creations, the most famous one was Yuan Mei's female disciple under Yuan Mei's door. Yuan Mei renounced the official and hidden, only love the wind, marking the "spirit", the world scholars rush. More importantly, he received female disciples, a moment of red powder and Tsing Yi together, under the attached door. Yuan Mei's advocacy and promotion also made Suyuan female disciples an indispensable part of the climax of female literature in the Qianjia period in the middle Qing Dynasty. We make a systematic study of the poetry creation group of female disciples in Suiyuan as a literary case, paying special attention to their personality and characteristics of creation, including group and individual, to take stock of the aesthetic psychology and aesthetic style of women's creation in the middle of Qing Dynasty. And the social and artistic values that this group brings. First of all, we analyze the number and method of the group composition and the reasons for the controversy, and put forward our own views and viewpoints. Secondly, we focus on the expansion and innovation in the subject matter of the poetry creation of Suiyuan female disciples. Most of the predecessors wrote about spring, boudoir and autumn, feeling things and carrying on people's works, while female disciples were inheriting the tradition of chanting, parting, and acacia, and the female disciples also created a new way to expand the subject matter and broaden the scope and scope of the works. Combining the works with landscape poems, painting poems, singing poems and philosophic poems, this paper expounds the differences between female disciples and traditional poets, and highlights the characteristics that female disciples attach importance to emotional expression. Thirdly, we choose this theme to explore the artistic characteristics of female disciple creation, mainly from the gentle temperament of the female disciple in the garden to expound the choice of their image, pay attention to the subtle emotional and psychological expression, and at the same time be rich in life. Their works tend to be simple and unsophisticated, with few allusions, which bring a fresh and natural wind to the poetry world. Because of their deep cultural literacy and less restraint, their artistic methods are varied. The use of nature, in harmony with the unique temperament of female disciples, is in line with the poetic requirements of the spirit school. Finally, based on the above analysis, we judge the creation of Suiyuan female disciple objectively, and think that the creation of Suiyuan female disciple should pay equal attention to both social value and literary value. Of course, because of the age of the female disciples and their own defects, they have shortcomings in the creation. However, Suiyuan female disciple is still a beautiful landscape in the history of Chinese female literature.
【学位授予单位】：长沙理工大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I207.22

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