本文選題：宋代　切入點：次韻　出處：《深圳大學》2017年碩士論文

【摘要】：蘇東坡是宋代詞壇上成就最為卓著、影響最為深遠的偉大詞人之一。在被歷代追和次韻的宋代詞人中,蘇東坡也是被追和次韻作品數(shù)量最多的一位詞人。對東坡詞的次韻創(chuàng)作從宋代就已經(jīng)開始,那么為什么在宋代有那么多人次韻蘇東坡的作品?宋代次韻東坡詞走過了怎樣的發(fā)展歷程,又表現(xiàn)了什么樣的內容題材和藝術風格?如何看待和評估宋代次韻東坡詞的創(chuàng)作現(xiàn)象,它們對推動詞史的演進和確立東坡的詞史地位起到了什么樣的作用?本文擬就這些問題對宋代詞人次韻東坡詞進行考察與分析。第一章是對宋代詞人次韻東坡詞的定量分析。通過定量分析發(fā)現(xiàn):(1)宋人傾向于次韻蘇東坡的經(jīng)典名篇。(2)宋人次韻東坡詞的用調與用韻較寬泛,且傾向于含蓄地反映社會現(xiàn)實,表達個人思想的題材與主題。(3)宋代次韻東坡詞的作者人數(shù)及作品數(shù)量都有明顯的時代變化。第二章是對宋代詞人次韻東坡詞發(fā)展歷程的描述。通過該描述發(fā)現(xiàn):(1)宋代次韻東坡詞的作者開始以蘇門詞人為主,后擴大到各個流派詞人,不同流派的詞人詞作內容與主題風格不同。(2)宋代詞人次韻東坡詞在形式上經(jīng)歷了由部分次韻到完全次韻的過程,在內容上出現(xiàn)從與蘇詞和題共韻到對它有所突破的發(fā)展,這個突破有內容題材與主題思想方面的,也有藝術風格與寫作技巧方面的。前者出現(xiàn)較早,后者出現(xiàn)較晚。(3)宋代詞人次韻東坡詞越來越向反映現(xiàn)實與表達幽深方向發(fā)展。第三章考察宋代詞人次韻東坡詞的題材表現(xiàn)。通過歸類研究發(fā)現(xiàn):(1)宋代詞人次韻東坡詞的題材表現(xiàn)多樣,其中以愛國與歸隱之情為主。(2)它們的題材表現(xiàn)受時代和蘇詞的雙重影響,表現(xiàn)為對蘇詞多樣化的繼承與突破。第四章探討宋代詞人次韻東坡詞的藝術風格。通過分類探討發(fā)現(xiàn):(1)宋代詞人次韻東坡詞的藝術風格對蘇詞繼承較多,其主要有清曠超逸、豪邁悲壯、沉郁凄涼、清麗婉曲、質樸自然與詼諧幽默六類。(2)宋代詞人次韻東坡詞的總體藝術風格傾向于豪放,即使其中婉約詞的創(chuàng)作也難逃蘇東坡豪放詞的影響。第五章是宋代詞人次韻東坡詞的原因探尋與價值評估。通過多方探討,認為宋代詞人次韻東坡詞的產(chǎn)生是內因與外因共同起作用的結果。內因是蘇詞自身的魅力,外因是蘇詞在宋代的接受。宋代詞人次韻東坡詞在詞史上的作用有以下幾點:(1)擴大詞境、豐富詞的題材表現(xiàn),推進詞體演進。(2)提高蘇詞的影響,鞏固蘇東坡在的詞史上的地位。(3)激發(fā)和者的創(chuàng)作欲望,提高和者的創(chuàng)作水平,帶來整體宋詞的繁榮昌盛。(4)促使次韻詞創(chuàng)作流行起來,并成為后世學習詞創(chuàng)作的一種方式。但是它也有不足:既沒產(chǎn)生偉大作品,又造成南宋詞的“古意漸微”。因此,要客觀、公允地看待次韻詞,既不掩飾其缺點,也不貶低其價值。
[Abstract]:Su Dongpo is one of the most outstanding and influential ci poets in Song Dynasty. Su Dongpo is also one of the most popular and subrhyme works. The subrhyme creation of Dongpo ci has already started since the Song Dynasty, so why are there so many times Su Dongpo's works in Song Dynasty? What kind of development course did Dongpo ci go through in the Song Dynasty, and what kind of content theme and artistic style did it show? How to treat and evaluate the creation phenomenon of Dongpo ci in subrhyme of Song Dynasty, and what role they play in promoting the evolution of ci history and establishing Dongpo's position in ci history? The first chapter is the quantitative analysis of the ci poems of the Song Dynasty. Through the quantitative analysis, we find that the Song people tend to subrhyme Su Dongpo's classic works. (2) the use of rhyme and rhyme in Dongpo ci of the people of Song Dynasty is relatively broad, And tend to implicitly reflect social realities, The number of authors and the number of works in Dongpo ci in the Song Dynasty have changed obviously. The second chapter is a description of the development of the ci ci in the Song Dynasty. In the Song Dynasty, the authors of Dongpo ci began to be mainly composed of Sumen poets. Later expanded to all schools of ci writers, the content and theme style of ci poems of different schools are different.) the ci poems of the Song Dynasty experienced the process from partial rhyme to complete rhyme in form. In terms of content, there has been a development from rhyming with Su ci and title to a breakthrough in it. This breakthrough includes content, subject matter and theme, as well as artistic style and writing skills. The former appeared earlier. The latter appeared later. 3) the ci poems of the Song Dynasty developed more and more towards the direction of reflecting reality and deep expression. Chapter three investigates the subject matter performance of the ci poems of the Song Dynasty. Through the study of classification, we find out that the ci poets of the Song Dynasty have subrhyme Dongpo ci. The subject matter of Poe ci is varied. Among them, patriotism and seclusion are the main ones. (2) their subject matter is influenced by the times and Su ci. The fourth chapter discusses the artistic style of Dongpo ci in subrhyme of ci poet in Song Dynasty. It is found that the artistic style of sub-rhyme Dongpo ci in Song Dynasty is more than that in Dongpo ci in Song Dynasty, which mainly includes Qing Kuang Suo Yi. The overall artistic style of Dongpo's ci poems in the Song Dynasty tends to be bold and unrestrained. The fifth chapter is the exploration and evaluation of the reason and value of the ci in the Song Dynasty. It is believed that the generation of ci in the Song Dynasty is the result of both internal and external factors, and the internal cause is the charm of Su ci itself. The external cause is the acceptance of Su ci in the Song Dynasty. The function of the ci ci in the history of ci is as follows: 1) expanding the ci territory, enriching the subject matter of the ci, promoting the evolution of ci style. 2) improving the influence of Su ci. To consolidate Su Dongpo's position in the history of ci.) to stimulate the creative desire of the harmony person, to improve the creation level of the harmony person, and to bring the prosperity and prosperity of the Song ci as a whole) to promote the popularity of the subrhyme creation. And it became a way of learning ci for later generations. But it also had some shortcomings: it did not produce great works, but also caused the "ancient meaning to fade" of the Southern Song Dynasty ci. Therefore, it is necessary to objectively and fairly treat subrhyme words without concealing their shortcomings. Nor does it devalue it.
【學位授予單位】：深圳大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.23

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