發(fā)布時間：2018-03-27 16:04

  本文選題：宋代三峽詩　切入點：主題內(nèi)容　出處：《南京師范大學》2017年碩士論文

【摘要】：宋代三峽詩的創(chuàng)作人數(shù)眾多,數(shù)量非常豐富,在內(nèi)容形式、藝術(shù)手法、文化意蘊等方面都有新的發(fā)展。宋代三峽詩的書寫范圍比唐代更加廣闊。宋人在借鑒前人寫作經(jīng)驗的基礎上,對三峽詩的主題內(nèi)容進行了深度挖掘。瞿塘峽、巫峽、西陵峽三大峽谷的壯麗風光得到了宋人的盡情歌詠,巫山神女的藝術(shù)形象在宋人筆下顯得更為豐滿,以夔州白帝城、八陣圖為主的三國遺跡和以屈原、宋玉、王昭君為代表的秭歸名人故居都在宋人筆下得到了藝術(shù)的再現(xiàn)。在題詠峽區(qū)風俗民情的同時,宋人更加關(guān)注普通百姓的日常生活,側(cè)重反映和揭示民生疾苦,更具民本情懷。宋代三峽詩藝術(shù)手法多樣,描寫更加細致,有情韻減弱、理性加強的傾向。詩歌篇幅普遍加長,說理議論增多,抒情性減弱,語言稍嫌累贅。宋代三峽詩融合了前代浪漫憂傷的藝術(shù)基調(diào)與宋代理性思辨的時代氛圍,呈現(xiàn)出一種理性之中略帶浪漫感傷的特殊風味�！吧健�、“水”、“云雨”、“猿”、“石”等三峽詩中的常見意象在宋代逐漸完善,“云雨”、“啼猿”意象更是發(fā)展成為中國文學史上的經(jīng)典意象。在唐代基本定型的兩種特殊的三峽詩體《巫山高》與《竹枝詞》,在宋代得到了進一步的發(fā)展,同時呈現(xiàn)出一些新的特色,如融入了新的元素視角和深入理性的思考。巴楚文化給三峽詩打上了鮮明的地域文化烙印,宋代三峽詩則把歷史與現(xiàn)實、過去與未來更加緊密地結(jié)合在一起。宋人將三峽的自然山水與詩人自身的審美體驗進行了重新整合,逐步發(fā)展出理性深沉的山水文化觀照。三峽獨具特色的貶謫文化由屈原發(fā)端,經(jīng)由李白、杜甫等人沉淀積累,到寇準、歐陽修等人逐步完善。宋代三峽貶謫文化的整體基調(diào)已由悲憤不平、消極沉郁轉(zhuǎn)變?yōu)槠胶统练�(wěn)、積極向上,呈現(xiàn)出一種理性睿智的新氣象。
[Abstract]:In the Song Dynasty, the three Gorges poetry was composed in a large number of people, and the quantity was very rich, in the form of content and in artistic methods. The writing scope of the three Gorges poems in the Song Dynasty is wider than that in the Tang Dynasty. On the basis of drawing on the writing experience of the predecessors, the Song people have deeply excavated the theme contents of the three Gorges poems. The magnificent scenery of the three Grand Canyons in Xiling Gorge has been sung heartily by the Song people. The artistic image of the Wushan Goddess is more full in the writings of the Song people. The ruins of the three Kingdoms, mainly in Kuizhou and Baidi City, with eight pictures, and qu Yuan and Song Yu, Zigui Celebrity's former residence, represented by Wang Zhaojun, was reproduced in the works of the Song people. While the customs and the people's feelings in the area were chanted, the Song people paid more attention to the daily life of the ordinary people, focusing on reflecting and revealing the people's livelihood. The three Gorges poetry of the Song Dynasty is characterized by a variety of artistic techniques, more detailed descriptions, less sentimental rhyme, and a tendency to strengthen rationality. The length of the poems is generally longer, the number of rational arguments has increased, and the lyricism has weakened. The three Gorges poems of the Song Dynasty combined the romantic and sad artistic tone of the previous generation with the rational speculative atmosphere of the Song Dynasty. "Mountain", "water", "cloud rain", "ape", "stone" and other common images in the three Gorges poetry gradually improved in the Song Dynasty, "Yun Yu", "Crow ape" image has developed into the history of Chinese literature. In the Tang Dynasty, two special types of three Gorges Poems "Wushan Gao" and "Bamboo Branch ci" were further developed in the Song Dynasty. At the same time, it presents some new features, such as the integration of new element perspective and deep rational thinking. Bachu culture has marked the three Gorges poetry with a distinct regional culture, while the Song Dynasty three Gorges poetry has put history and reality on it. The past and the future are more closely integrated. The Song Dynasty reintegrated the natural landscape of the three Gorges with the poet's own aesthetic experience. Gradually developed a rational and profound landscape culture. The unique relegation culture of the three Gorges started from qu Yuan, accumulated through Li Bai, du Fu and others, and reached Kou Zheng. The overall tone of the relegation culture of the three Gorges in the Song Dynasty has changed from indignation and depression to peace and stability, positive and upward, showing a rational and wise new atmosphere.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.22

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本文編號：1672225