本文選題：宋詞 + 長度��； 參考：《寧夏大學(xué)》2017年碩士論文

【摘要】：在各種宋詞選本中可以發(fā)現(xiàn),北宋初的詞多為小令,而南宋末的詞多為長調(diào)。由此猜想宋詞的長度有一個(gè)逐漸演變的過程。通過對(duì)《全宋詞》中20647首詞進(jìn)行的定量分析,可以看出,宋詞在發(fā)展的過程中,其長度經(jīng)歷了一個(gè)由短到長的過程。主要表現(xiàn)在兩方面,一是宋詞的字?jǐn)?shù)逐漸變多;二是宋詞中的小令逐漸減少,中調(diào)、長調(diào)逐漸增多。產(chǎn)生這一現(xiàn)象的原因有多種。首先是音樂原因,宋詞是一種音樂性很強(qiáng)的文體,宋代的詞壇的主流觀點(diǎn)認(rèn)為詞需“合樂可歌”,但在現(xiàn)實(shí)發(fā)展的過程中,詞出現(xiàn)了脫離音樂的趨勢(shì)。“合樂”的這一路,經(jīng)過周邦彥、姜夔、吳文英、張炎、周密等人的傳承與發(fā)展,越寫越雅,而雅詞在音樂節(jié)奏上需要舒緩,在內(nèi)容上需要思索安排,故“合樂”這一路發(fā)展的結(jié)果使得宋詞長度延長;“不合樂”的一路,更重視詞的內(nèi)容表達(dá),為了表達(dá)更豐富的內(nèi)容,這一路的詞人多選取長調(diào),加上不少詞人選取某一擅長的中、長調(diào)詞牌,一次性寫數(shù)十首詞,直接導(dǎo)致長調(diào)的增多。在詞學(xué)觀方面,宋代的詞學(xué)觀經(jīng)歷了“詞為小道、詞為艷體、詩莊詞媚”到“以詩為詞”、“以文為詞”再到“求雅”的轉(zhuǎn)變,宋詞的地位一步步提升,人們的普遍重視,使得宋詞的藝術(shù)、內(nèi)容更為豐富,促進(jìn)了宋詞長度的增加。在詞人創(chuàng)作實(shí)踐上,柳永大力創(chuàng)作慢詞長調(diào)、蘇軾“以詩為詞”、周邦彥、姜夔對(duì)詞的極力雅化,再到辛棄疾的“以文為詞”,諸位詞人用自身創(chuàng)作實(shí)踐一步一步開拓著長調(diào)的天地。宋詞長度演變有著深遠(yuǎn)的意義。在內(nèi)容上讓宋詞表征的宋代文化更加豐富,宋詞在發(fā)展的過程中,其內(nèi)容不斷豐富,越來越多的人、事、情被寫入詞中,從一定程度上看,宋詞成為了承載宋代文化的一大載體。雖說有不少小令也傳遞出一定的文化內(nèi)涵,但小令由于篇幅短,注重描繪局部氣氛和簡單情感,隨著宋詞字?jǐn)?shù)的增加和使用長調(diào)的增多,宋詞中所表征的宋代文化更為豐富具體,從詞中即可窺探宋代的文化風(fēng)貌和宋人的生活現(xiàn)狀。其節(jié)序文化、禮儀文化、花卉文化和宴飲文化在長調(diào)中有著更生動(dòng)的表現(xiàn)。在藝術(shù)上讓宋詞的藝術(shù)手法更高超,由于宋詞長度增加,篇幅擴(kuò)大,在時(shí)空上,從小令中的簡單跳躍發(fā)展到中長調(diào)中的多次跳躍,在雅派詞人那里甚至出現(xiàn)了“意識(shí)流”跳躍;宋詞長度的增加,使得詞中對(duì)于人物的描寫更為細(xì)膩,不再局限于小令的管窺,而是對(duì)人物的外貌、神態(tài)、語言、動(dòng)作、心理均有細(xì)致的描繪;在情感表達(dá)上,正是因?yàn)樗卧~長度的增加,使得情感表現(xiàn)手法越來越高超,從最簡單的“直抒胸臆”到“融情于景、借景抒情”再到“依情布景、遙有寄托”。
[Abstract]:In all kinds of anthology of Song ci, it can be found that most of the words in the early Northern Song Dynasty are Xiao Ling, while the words in the last part of the Southern Song Dynasty are mostly in long tune.Therefore, it is assumed that the length of Song ci has a gradual evolution process.Through the quantitative analysis of 20647 words in the whole Song ci, we can see that the Song ci has experienced a process from short to long in the process of its development.There are two main aspects, one is that the number of words in Song ci has become more and more, the other is that the minor order in Song ci has gradually decreased, the middle tone and long tone have gradually increased.There are many reasons for this phenomenon.The first is music, Song ci is a very musical style. The mainstream view of ci in Song Dynasty is that ci should be sung in harmony with music, but in the process of realistic development, ci has a tendency to break away from music.Through the inheritance and development of Zhou Bangyan, Jiang Kui, Wu Wenying, Zhang Yan, and Zhou meticulous, "Hale" has become more and more elegant, while elegant words need to be relaxed in music rhythm and need to be thoughtfully arranged in content.As a result of the development of "Hale", the length of Song ci has been lengthened. In order to express more abundant content, more attention has been paid to the expression of the content of the ci. In order to express more abundant content, the people along the way have chosen a long tone.In addition, many ci-writers choose a certain good, long tone word card, write dozens of words at one time, directly leading to the increase of long tune.In terms of the concept of ci poetry, the view of ci in the Song Dynasty experienced the transformation of "ci as a path, ci as a beautiful style, poetry as a beautiful word", "taking a poem as a word", "taking a text as a word" and "seeking elegance". The position of Song ci rose step by step, and people attached great importance to it.Make Song ci art, content more rich, promoted the increase in the length of Song ci.In the practice of ci writing, Liu Yong made great efforts to create the long tune of slow ci, Su Shi "taking poetry as ci", Zhou Bangyan and Jiang Kui's vigorous refinement of ci, and then to Xin Qiji's "taking text as ci".You ci-writers with their own creative practice step by step to open up the world of long tune.The evolution of Song ci is of great significance.In terms of content, the Song Dynasty culture represented by the Song ci is more and more abundant. During the development of the Song ci, its content is constantly rich and more and more people, things and feelings are written into the ci, to a certain extent,Song ci has become a carrier of Song culture.Although many Xiao Ling also convey certain cultural connotations, due to its short space, Xiao Ling pays attention to describing local atmosphere and simple feelings. With the increase in the number of words in the Song Dynasty and the increase in the use of long tones,The culture of Song Dynasty represented in Song ci is richer and more concrete, from which we can find out the cultural features of Song Dynasty and the living conditions of Song people.Its festival order culture, etiquette culture, flower culture and banquet culture have more vivid expression in long tune.In art, let the artistic technique of Song ci be higher than before. Due to the increase in the length and length of Song ci, in time and space, the simple jump from Ling to many jumps in the medium and long tune, and even the "stream of consciousness" jump appeared in the elegant ci poetry;The increase in the length of the Song ci has made the description of the characters more delicate, no longer confined to the peeping of Xiao Ling, but a detailed description of the appearance, manner, language, action and psychology of the characters; in terms of emotional expression,It is precisely because of the increase in the length of Song ci that the emotional expression techniques become more and more superb, from the simplest "express one's feelings directly" to "melt feelings in the scene, borrow the scene lyric" to "according to the situation set, there is distant sustenance".
【學(xué)位授予單位】：寧夏大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.23

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