本文關(guān)鍵詞：屈原辭文體研究　出處：《山東大學(xué)》2017年博士論文　論文類型：學(xué)位論文

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【摘要】：屈原辭文體研究是從文體學(xué)視角出發(fā)研究屈原辭。通過(guò)對(duì)屈原所處戰(zhàn)國(guó)時(shí)代主要文體生成方式的研究,得出那一時(shí)期的文體內(nèi)涵至少包括兩個(gè)方面:文章之體類與文本之體征。所謂文章之體類,是指文章類別,諸如誥、盟、詩(shī)、賦、小說(shuō)等等,它們有各自不同的生成環(huán)境,并承擔(dān)相應(yīng)的文體功能;所謂文本之體征,是指某一文類下的文章文本所具有的特征,包括語(yǔ)言、句式、文本結(jié)構(gòu)等等,如史傳體、問(wèn)對(duì)體、莊子寓言體等等,又如詩(shī)體下的四言體、五言體、七言體、歌行體等。建立在對(duì)文體內(nèi)涵的這一理解上,從文章體類上講,屈原辭包括兩大文類,即詩(shī)體與賦體。因?yàn)榍o中,同一文類下的篇章又存在文本體征上的差別,這在詩(shī)體一類中體現(xiàn)得尤為明顯。這就需要對(duì)屈原辭各文類下的具體篇章從文本體征上進(jìn)行再分辨。屈辭詩(shī)體中,《離騷》篇中的抒情主人公不能直接看作是屈原,而是屈原有意設(shè)置的一個(gè)"人物"形象,因其一會(huì)兒向西,一會(huì)兒向東,一會(huì)兒天上,一會(huì)兒地上,且能降神迎神,可以確定是一位神巫形象�！峨x騷》的創(chuàng)作是屈原托言于巫口,讓神巫替自己說(shuō)話表達(dá),據(jù)此可視《離騷》為托言體詩(shī)�！短靻�(wèn)》是屈原疏放漢北時(shí)所作,屈原于漢北觀楚先王宗廟訓(xùn)政壁畫,睹畫興懷,依圖而作《天問(wèn)》。壁畫的順序,大體決定了《天問(wèn)》的內(nèi)容與寫作順序,《天問(wèn)》的主題思想一定程度上反映著壁畫的內(nèi)容思想。而一幅幅壁畫的獨(dú)立性,也決定了《天問(wèn)》的寫作不同于中西方的史詩(shī),而是一句、兩句或幾句一事�？梢哉f(shuō)《天問(wèn)》的創(chuàng)作開(kāi)繪畫向文體轉(zhuǎn)化之先河,可認(rèn)定為題畫體�！毒耪隆返膭�(chuàng)作開(kāi)后世"九體"創(chuàng)作之先,以九個(gè)章節(jié)合為一個(gè)整體,以"九"命篇,體式獨(dú)特。其中《橘頌》與《九章》其它篇章在體式上又有明顯不同,《橘頌》承襲古頌體頌美傳統(tǒng)而來(lái),是頌體的變體。屈原《九歌》改作于南楚沅湘巫祭樂(lè)歌,經(jīng)過(guò)屈原改作后,《九歌》著上了文人的藝術(shù)思維,雖然仍是用于歌唱的樂(lè)歌,但就大的文類上講,屬于詩(shī)體這一類,畢竟歌與詩(shī)很早就實(shí)現(xiàn)了合流。但從具體詩(shī)篇文本上看,《九歌》仍有其特殊性,不同于《離騷》《九章》與《天問(wèn)》。就《九歌》中的單篇而言,除《東皇太一》《國(guó)殤》《禮魂》外,其余篇章皆存在對(duì)唱的藝術(shù)結(jié)構(gòu),這是巫祭樂(lè)歌藝術(shù)在屈原《九歌》中的存留,這些篇章的舞臺(tái)表演因素依舊顯著,與戲劇存在相似性,可將其稱為劇體歌。而從《九歌》整體上看,十一篇《九歌》結(jié)構(gòu)完整,有屈原自己的編排構(gòu)思在,聯(lián)系在一起如同一成成上演的樂(lè)章,而且《九歌》篇章也確實(shí)帶有音樂(lè)性,所以十一篇《九歌》可視作樂(lè)章體。屈辭賦體中,《卜居》《漁父》虛設(shè)問(wèn)對(duì)以明志刺時(shí),開(kāi)問(wèn)對(duì)駁難賦體之先;《招魂》中對(duì)楚美的描寫,宏大瑰麗,語(yǔ)辭精美,奠定了狀物騁辭大賦的書寫基礎(chǔ)。劉勰言"夫情致異區(qū),文變殊術(shù),莫不因情立體,即體成勢(shì)","勢(shì)"就是風(fēng)格,不同的文體會(huì)表現(xiàn)出不同的風(fēng)格。但是因文體的選擇源于情感意志表達(dá)的需要,所以從本質(zhì)上來(lái)說(shuō),文體風(fēng)格的形成還當(dāng)源于文本中情感的積淀�！峨x騷》《九章》積淀為悲怨、風(fēng)骨的風(fēng)格特征;《天問(wèn)》表現(xiàn)出激憤、警策的風(fēng)格特征;《九歌》表現(xiàn)出凄婉纏綿的風(fēng)格特征。屈原辭情感飽滿,悲郁感人,言辭精美,恢弘瑰麗,其文體樣式在后世被廣泛繼承和模仿,影響了后世文學(xué)文體寫作,其中對(duì)賦體文學(xué)創(chuàng)作的影響尤為明顯。在結(jié)構(gòu)上,本文主要分為七個(gè)部分。緒論部分主要是對(duì)相關(guān)概念的界定和屈原辭文體研究現(xiàn)狀及所存在的問(wèn)題的論述。第一章,具體論述戰(zhàn)國(guó)歷史語(yǔ)境中文體的生成形式及其內(nèi)涵,明確本文所用文體的概念內(nèi)涵。第二章,依據(jù)屈原辭文本特征、創(chuàng)作目的及創(chuàng)作藝術(shù)構(gòu)思,劃分屈原辭文體類別,分詩(shī)體與賦體兩大類。第三章,依據(jù)各篇章文本體征的不同,對(duì)詩(shī)體文類下的具體篇章進(jìn)行再分辨,將《離騷》認(rèn)定為托言體詩(shī),將《天問(wèn)》認(rèn)定為題畫體詩(shī),將《九章》認(rèn)定為"九體"組詩(shī)。將《九歌》中的《東君》《云中君》《大司命》《少司命》《湘君》《湘夫人》《山鬼》《河伯》認(rèn)定為劇體歌;整體十一章《九歌》看作是樂(lè)章體歌。第四章,對(duì)屈辭賦體進(jìn)行再分辨,將《卜居》《漁父》認(rèn)定為問(wèn)對(duì)體言志明理賦,將《招魂》認(rèn)定為是狀物騁辭大賦。第五章,對(duì)屈原辭文體風(fēng)格進(jìn)行論析,不同的體式會(huì)形成不同的風(fēng)格,而體式的不同又源于情感表達(dá)的需要,《離騷》《九章》表現(xiàn)為悲怨、風(fēng)骨的風(fēng)格特征;《天問(wèn)》表現(xiàn)出激憤、警策的風(fēng)格特征;《九歌》則表現(xiàn)為凄婉纏綿的風(fēng)格特征。第六章,論述屈辭文體在后世的流變與影響。
[Abstract]:The study of Qu Yuan's stylistic style is a study of Qu Yuan's words from the perspective of stylistics. Through the study of the main styles of Qu Yuan's Warring States period, the stylistic connotations of that period include at least two aspects: the body and the signs of the article. The article refers to the body of the class, the categories, such as patent, Au, poems, novels and so on, they have their own generation in different environment, and assume the corresponding stylistic functions; the so-called text signs, refers to a genre of text features articles under it, including language, sentence, text the structure and so on, such as the history of body, body, ask Chuang-tzu fables and so on, and as the four character verse, five, seven character Gexing, etc.. Based on the understanding of the connotation of the style, from the body of view, including the two major categories of CI Qu, namely poetry and fu. In the words of the same category, there is a difference between the text and the physical signs, which is particularly evident in the style of poetry. This requires a re - resolution of the specific text of the genre of Qu Yuan's words from the text. Quci verse, "Lisao" in the lyric protagonist not directly as Qu Yuan, but Qu Yuan is a "character" image set, because of the west to the East for a moment, a moment, a moment of heaven, while on the ground, and can determine the seance towards God, is a wizard image. "Lisao" is the creation of the words in the mouth of Qu Yuan, let God speak for themselves, according to visual "Lisao" as a supporting character poem. "Heaven" is made by Qu Han Bei drainage, Qu Yuan in the Han Wang Temple Chu Bei Guan Xunzheng painting murals, see Xing Huai, according to the "heaven". The order of the mural "heaven", generally determines the content and writing order, "theme of heaven" to a certain extent reflects the contents of mural thought. And the independence of a mural, also determines the "heaven" is different from writing in Western Epic, but one or two or a few things. We can say "heaven" and the creation of painting style transformation to the beginning, can be identified as painting. The creation of "nine chapters" begins with the creation of the "nine body" in the later generations. It combines nine chapters as a whole, with the "Nine" life text, and the style is unique. The "Ju song" and "nine chapters" and other chapters in style are significantly different, "Ju song" inherited the song style and traditional praise, is a variant of the style of eulogy. Qu Yuan "Nine Songs" as in South Chu Yuanxiang sacrificial songs, after Qu Yuan changed, "Nine Songs" on the literary artistic thought, although still used for singing songs, but the genre of poetic sense, belong to this category, after all the songs and poetry early realized confluence. But from the specific text on the poem, "Nine Songs" still has its particularity, different from the "Li Sao" "nine chapters" and "heaven". On the "Nine Songs" in the article, in addition to "Donghuang Taiyi" "war" ritual "soul", the remaining text there is art structure to sing, this is the offering of art songs remain in Qu Yuan "Nine Songs" in the stage performance factors of these texts is still significant, and Drama are similar, but called the dramatic song. From the "Nine Songs" on the whole, eleven pieces of "Nine Songs" structural integrity, Qu Yuan in their arrangement idea together, as of 10% staged movement, and "Nine Songs" text did with music, so eleven "Nine Songs" visual music chapter body. Qu prose, "divination occupies" dummy "Fisherman" asked to ask to open when the thorn Ming, Fu before difficulties; the "evocation" of Chu Mei description, grand magnificent words beautifully laid the basic writing like Cheng Fu's speech. Liu Xie said "the husband looked different, but the change of, not because of love is three-dimensional, form", "potential" is the style, different style will show different style. However, because the choice of style stems from the need of emotional will expression, in essence, the formation of stylistic style is also derived from the accumulation of emotion in the text. "Lisao" "nine chapters" accumulation of melancholy, character style; style characteristics of "heaven" show anger, jingce; "Nine Songs" show style plaintive lingering. His speech full of emotion, so touching words, beautiful, grand and magnificent, the style in the later widely inherited and imitation, influenced later literary writing, which influence on the creation of Fu is particularly evident. In structure, this article is divided into seven parts. The introduction is mainly about the definition of the related concepts and the present situation of the study of the style of Qu Yuan's style and the existing problems. In the first chapter, the form and connotation of style in the historical context of the Warring States period are discussed, and the connotation of the style used in this article is clarified. The second chapter, according to the characters of the text of the Qu Yuan, the purpose of creation and the artistic conception of creation, divides the genre of Qu Yuan's style, divided into two categories: Poetry and Fu. The third chapter, on the basis of the text signs are different, specific chapters of the writing class was resolved, will be identified as "Lisao" words, poetry, the "heaven" that title painting poetry, the "nine chapters" as "nine poems". The "Nine Songs" in the "" "" "big powers" monarch of clouds "" "" "less contemporary Xiangjun madam Xiang" "goddess" "Bo" identified as dramatic songs; eleven chapter "Nine Songs" as the song body movement. The fourth chapter of Qu prose to distinguish the "divination occupies" "Fisherman" as to ask and Yanzhi Fu, will be identified as the "evocation" is like Cheng Fu. The fifth chapter of Qu Yuan speech style carries on the analysis, the different postures will form a different style, different style and needs from emotional expression, "Li Sao" "nine chapters" is melancholy, character style; style characteristics of "heaven" show anger, alert; "
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.22

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