比较视域下的日本汉诗“风雅”溯源研究

发布时间：2018-07-05 04:05

本文选题：日本汉诗 + 汉诗　；参考：《陕西师范大学》2012年硕士论文

【摘要】：“风雅”是中国诗论的核心观念之一,自《诗经》以后,中国文人在创作或评析诗歌的时候,几乎都有意或无意的遵守这一标准。日本汉文学的产生,是受到了中国文学深远的影响,在日本的汉诗中,其“风雅”观也极大的承袭了中国诗歌的“风雅”理念,但又具有了独特的日本诗学品质,主要表现在以下几点：其一是日本汉诗的个人倾向；其二是委婉含蓄以及清新自然地审美倾向；其三是日本社会对汉诗汉文的追捧和崇尚；其四表现在日本汉诗文学对政治性的超越。正文可分为五部分：第一部分：对日本汉诗的起源和历史划分进行了宏观的论述。认为日本汉诗起源于大和时代后期,以《怀风藻》中大友皇子所作《侍宴》和《述怀》为日本汉诗的滥觞。历史分期可分为四个时期：即王朝时期(646—1192)、五山时期(1191—1602)、江户时期(1603—1868)和明治以后(1868年后) 第二部分：主要探讨了日本汉诗中的“风雅”内涵,并兼及中日“风雅”观的异同。主要从以下几个方面进行论述：一是日本汉诗的个人倾向,二是日本汉诗的审美倾向,三是日本社会对汉诗文的崇尚,四是日本汉诗对文学政治性的超越。第三部分：主要论述了日本汉诗史上四个时期创作主体及其意识形态的变化情况,以此来说明日本风雅观流变的内在根源。认为王朝时期创作主体以国家统治阶级为主,其汉诗创作意识正是国家意志的表现；五山时期创作主体以五山禅僧为主,汉诗创作意识在延续王朝时期的同时转向了禅宗,并以学习和创作汉诗为尚；江户时期创作主体开始转向民间,他们大多具有良好的文化教养和儒学修养,其创作意识崇尚宋明儒学；明治以后日本汉诗创作开始衰微。第四部分：在日本汉诗和汉字的关系基础上,通过对日本汉诗个案研究,即以菅原道真对白居易讽喻诗的接受和日本汉诗对王维诗歌中幽玄观的受容,来探讨日本作家作品对中国作家作品的受容。第五部分：主要对日本汉诗在日本社会的存在方式进行考察。分为两个小节,第一小节对日本汉诗与日本文学的关系进行了论述,认为日本汉诗已经成为日本文学不可或缺的一部分；第二小节对日本作家作品与汉诗的关系进行了论述,认为在日本社会中,汉诗本身已经成为了风雅的代名词。
[Abstract]:"elegance" is one of the core concepts of Chinese poetry theory. Since the Book of songs, almost all Chinese scholars have observed this standard intentionally or unintentionally when they write or comment on poetry. The emergence of Japanese Chinese literature was deeply influenced by Chinese literature. In Japanese Chinese poetry, its view of "elegance" inherited the idea of "elegance" in Chinese poetry, but it also had a unique Japanese poetics quality. The main manifestations are as follows: first, the personal tendency of Japanese Chinese poetry; second, euphemism, implication and fresh and natural aesthetic tendency; third, Japanese society's pursuit and worship of Chinese poetry; The fourth is the transcendence of Japanese Chinese poetry to politics. The text can be divided into five parts: the first part: the origin and historical division of Japanese Chinese poetry are discussed macroscopically. It is believed that Japanese Chinese poetry originated in the late period of Daiwa era, and originated from Japanese Chinese poetry with the works of "Shi Banquet" and "Huai Huai" by the Emperor of the Emperor Dae-fengzao in "Huaifengzao" and "Shuhuai". The historical period can be divided into four periods: the dynasty period (646-1192), the Wushan period (1191-1602), the Edo period (1603-1868) and the Meiji period (after 1868). At the same time, the similarities and differences between Chinese and Japanese "elegant" view. This paper mainly discusses the following aspects: first, the personal tendency of Japanese Chinese poetry; second, the aesthetic tendency of Japanese Chinese poetry; third, the Japanese society's respect for Han poetry and prose; fourth, the Japanese Chinese poetry's transcending the political nature of literature. The third part mainly discusses the creation subject and the change of ideology in the four periods in the history of Japanese Chinese poetry, so as to explain the internal root of the change of Japanese style and elegance. The author thinks that the main creative subject of the dynasty is the ruling class of the country, and its consciousness of Chinese poetry creation is just the expression of the national will, while the main creative subject of the five mountains period is the monk of the five mountains, and the consciousness of the creation of the Chinese poetry has turned to Zen at the same time as the continuation of the dynasty. In the Edo period, the main body of creation began to turn to the folk, most of them had good cultural upbringing and Confucianism cultivation, and their creative consciousness advocated Song Ming Confucianism. After Meiji, the creation of Japanese Chinese poetry began to decline. The fourth part: on the basis of the relationship between Japanese Chinese poetry and Chinese characters, through the case study of Japanese Chinese poetry, that is, the acceptance of Bai Juyi allegorical poetry by Naoto Kan and the tolerance of Japanese Chinese poetry to the metaphysical view of Wang Wei's poetry. To explore the acceptance of Japanese writers and works to Chinese writers and works. The fifth part: mainly carries on the inspection to the Japanese Chinese poetry in the Japanese society existence way. The first section discusses the relationship between Japanese Chinese poetry and Japanese literature, and holds that Japanese Chinese poetry has become an indispensable part of Japanese literature. It is believed that in Japanese society, Chinese poetry itself has become synonymous with elegance.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I313.072

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