魏晋岁时赋研究

发布时间：2019-04-21 07:06

【摘要】：本文可视为对岁时赋发展史的断代研究。岁时赋孕育于先秦,形成于两汉,于魏晋时期走向成熟并逐渐兴盛起来。因此,截取这一阶段的岁时赋发展史进行研究对于我们探寻岁时赋的早期形态和发展轨迹最具参考价值。本文分为四章。第一章探讨岁时赋在魏晋时期走向兴盛的原因,主要从当时的社会环境入手:第一,个体生命意识觉醒,人们对于节物迁逝变得格外敏感;第二,自然审美意识趋于成熟,人们开始以欣赏的眼光眺望四季景色;第三,节日体系日益完善,节日风俗生活化、娱乐化;第四,文学走向自觉,作家的创作热情和文学水平空前提高,同题创作之风盛行。辞赋是魏晋时期最流行的文体之一,作家表现节物迁逝之感,描摹四季景色之美,记述节日风俗,进行同题共作皆以赋为主要载体,岁时赋因而得以盛行。第二章讨论三国时期的岁时赋。邺下文人集团的同题共作活动是本时期岁时赋创作的主要动力,曹植等人的同题《大暑赋》是其主要成果。大暑赋或以夸张的、概括性的语言,或以细节性的生活场景来表现暑热。尽管模式化倾向比较严重,这些作品仍留下了乱世特有的历史痕迹。生命易逝而功业难成是建安文人普遍面临的人生难题。曹植、繁钦的春、秋赋皆以此为主题,因而形成了慷慨悲壮的独特风格,与其他时代的春、秋赋绝不相同。王沈《正会赋》创作于建安文学与正始文学的交替阶段,并使得正会庆典成为独立的辞赋题材,在岁时赋发展史上也具有一定的积极意义。第三章对两晋岁时赋主要的题材内容进行了分类概述。“祓禊”“春”“秋”是本时期岁时赋最主要的表现领域。两晋时期上巳节娱乐性质进一步增强,祓禊诗、赋随之发展壮大。由于以写景状物见长的文体特征,辞赋在描写祓禊风俗方面有着不可替代的艺术魅力与文献价值。相较于三国时期,两晋春、秋赋数量大大提升,但除夏侯湛、潘岳等少数作家的作品外,大多数赋作在情感表达和艺术形式两方面均具有严重的模式化倾向。除以上三大题材外,两晋岁时赋尚涉及到祖、蜡、正会等节日风俗,寒、暑、冬、夏等自然节候。这些赋作各具特色,共同构建起两晋文学中丰富多彩的岁时世界。第四章主要论述了在岁时赋发展史上具有重要意义的两晋作家。傅玄、嵇含对岁时赋的题材内容进行了开拓创新,创作极具个性。夏侯湛是本时期岁时赋存世最多的作家,其春、秋赋在艺术形式上也独树一帜;潘岳虽仅有一篇《秋兴赋》传世,却凭借其高超的艺术水平对后世产生了深远影响。陆机、陆云咏冬赋中的感时伤逝之叹代表了魏晋时期流行的情感基调;思亲怀土之悲则是作家个体身世的真切反映,因而更具打动人心的艺术力量。
[Abstract]:This paper can be regarded as a dating study on the development history of Fu at the age of age. Fu was born in the pre-Qin Dynasty, formed in the Han Dynasty, matured and flourished gradually in the Wei and Jin dynasties. Therefore, the study of the development history of the age Fu at this stage is of the most referential value for us to explore the early form and development track of the age Fu. This paper is divided into four chapters. The first chapter discusses the reasons for the prosperity of Fu in the Wei and Jin dynasties, mainly from the social environment at that time: first, the awakening of individual life consciousness, people become particularly sensitive to the passing of things; Second, the natural aesthetic awareness tends to mature, people began to look at the four seasons with the eyes of appreciation; third, the festival system is increasingly perfect, holiday customs, entertainment; Fourth, literature tends to self-consciousness, the writer's creative enthusiasm and literary level are improved unprecedented, and the style of writing on the same topic prevails. Ci Fu is one of the most popular styles in the Wei and Jin dynasties. The writer shows the sense of passing away, describes the beauty of the scenery in four seasons, describes the festival customs, takes Fu as the main carrier in the same work, and thus becomes popular at the age of age. The second chapter discusses the age Fu of the three Kingdoms period. The co-authoring activities of Ye Xia literati group were the main motive force of Fu creation at the age of this period, and Cao Zhi and others'"Fu of Greater Heat" was the main achievement. The summer heat is expressed either in exaggerated, general language, or in detailed scenes of life. Although the stereotype tendency is serious, these works still leave the peculiar historical trace of the chaotic times. Life is fleeting and success is difficult for Jian'an literati to face. Cao Zhi, the Spring and Autumn Fu of Fangqin, all take this as the theme, thus forming a unique style of generosity and tragedy, which is not the same as the Spring and Autumn Fu of other times. Wang Shen's "Fu of Zhenghui" was created in the alternating stage of Jian'an literature and original literature, and made the celebration of Zhenghui become an independent subject of ci Fu, which also had a certain positive significance in the history of Fu development at the age of age. The third chapter summarizes the main themes of Fu in the two Jin dynasties. "Fu", "Spring" and "Autumn" are the main areas of expression of Fu at the age of this period. During the period of the two Jin dynasties, the entertainment nature of Shangsi Festival was further strengthened, and the Fu developed with the development of the poem. As a result of the stylistic characteristics of "scenery", ci Fu has irreplaceable artistic charm and literature value in describing the social customs. Compared with the period of the three Kingdoms, the number of Fu was greatly increased in the two Jin and Spring dynasties. However, in addition to the works of a few writers such as Xia Hou Zhan, Pan Yue and so on, most of the works had a serious tendency of stereotyping in both emotional expression and artistic form. In addition to the above three themes, two Jin years of age Fu still involves ancestor, wax, formal meeting and other holiday customs, cold, summer, winter, summer and other natural festivals. These works have their own characteristics, together to construct the rich and colorful age of the world in the literature of the two Jin dynasties. The fourth chapter mainly discusses the two Jin writers with great significance in the development history of Fu at the age of age. Fu Xuan, Ji Han on the theme of Fu at the age of innovation, creative personality. Xia Hou Zhan was the writer who lived most in this period, and his spring and autumn Fu were unique in art form. Although Pan Yue had only one "Qiuxing Fu" handed down, he had a profound influence on the later generations by virtue of his superb artistic level. Lu Ji and Lu Yunyong's sighing of feeling of time and injury and death represent the popular emotional tone in Wei and Jin dynasties, while thinking about the sadness of the earth is the true reflection of the writer's individual life and therefore has more artistic power to impress the hearts of the people.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22

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