本文選題：杜甫 + 士不遇��； 參考：《中央民族大學(xué)》2017年碩士論文

【摘要】：杜甫的士不遇主題詩歌歷來受到重視,其中的嘆老嗟卑、忠君憂國等內(nèi)容也得到充分挖掘,但尚不能展現(xiàn)其完整面貌。文章關(guān)注杜甫不遇詩中對(duì)自我的認(rèn)識(shí)和表現(xiàn),認(rèn)為杜甫對(duì)"士不遇"主題詩歌的"自炫""自疏"傳統(tǒng)均有繼承和突破,并拓展了不遇詩自我審視的視角。全文分三章討論了杜甫不遇詩中的三種自我認(rèn)識(shí)及表現(xiàn)情況。第一章考察杜甫的"高自稱許"之作,認(rèn)為杜甫在證明自己的入仕能力和德行方面充分繼承了不遇詩的"自炫"傳統(tǒng),同時(shí)又發(fā)展了自己的特點(diǎn)。具體來說,在陳述性自炫中,多選擇"歷敘浮沉"的表達(dá)方式,而少用屈騷體的"賢愚對(duì)照"方式,以此走出單一化、情緒化、主觀化的自炫模式,個(gè)人敘事體現(xiàn)了更強(qiáng)的自我關(guān)注意識(shí),以更豐富、真切的方式表現(xiàn)自我肯定。借助詠物顯耀自身時(shí),則一面在形式上實(shí)現(xiàn)"物我分疏",從而遠(yuǎn)離傳統(tǒng)的"自炫"格調(diào);一面以意象選擇、形象描寫、主旨立意的大氣慷慨,表現(xiàn)"大材"的自我認(rèn)識(shí)和"大道"的信念,顯露出更深沉的自負(fù)氣概。第二章討論杜甫的"自求疏遠(yuǎn)"之作,認(rèn)為杜甫在出世選擇中表達(dá)了對(duì)朝廷的怨懟、疏離情緒和對(duì)隱居生活中個(gè)人價(jià)值的肯定。首先,杜甫繼承了初盛唐以"出走宣言"擺脫功名追求挫敗感的流行寫法,并在棄官后以更為豐富的宣告方式表達(dá)對(duì)個(gè)人隱居生活的肯定、滿足和深層的憤懣之感;此外,杜甫通過有選擇地使用典故,反復(fù)辨析其歸隱性質(zhì),有意將其同高蹈的隱士區(qū)分開,表達(dá)對(duì)當(dāng)權(quán)者的怨懟之情、避禍心理及終身不仕的決心,暗示懷才不遇的一面;最后,杜甫以語意的沖突調(diào)和心底深層對(duì)"君臣遇合"的渴望和"自求疏遠(yuǎn)"這一無奈選擇之間的矛盾,既保持不遇士人的自尊自重,又表達(dá)對(duì)自己坎坷經(jīng)歷的傷懷之情。第三章討論杜甫對(duì)不遇詩自我審視視角的拓展。除了高自稱許和自求疏遠(yuǎn),杜甫還立足現(xiàn)實(shí)人生的苦難之中,以超出個(gè)人利害得失的視角審視自我。首先,他嘲笑自己的懶拙性格,將自我肯定以貶詞形式表達(dá),帶有更深刻的諷世意味,同時(shí)呈現(xiàn)不急于自我辯白的從容態(tài)度,體現(xiàn)理性的自我認(rèn)識(shí)和對(duì)命運(yùn)的擔(dān)當(dāng);此外,他戲謔自己的無奈處境,通過袒露窘狀和苦中作樂,勾勒出窘迫的自我形象,表現(xiàn)了對(duì)悲苦境遇的藐視和達(dá)觀態(tài)度;最后,他描繪苦難中孤微渺小的自我形象,又以廣闊的背景、美的意象、執(zhí)著的心意力量,形成豪壯灑脫的風(fēng)格,藝術(shù)性地表現(xiàn)對(duì)個(gè)人有限性與命運(yùn)壓迫性之間關(guān)系的認(rèn)知,在阻滯中迸發(fā)自由的生命力量,實(shí)現(xiàn)了對(duì)失敗結(jié)局的超越。
[Abstract]:Du Fu's poetry of "never met the theme" has always been attached importance to, among which the contents such as exclamation and inferiority, loyalty and concern for the country and so on have been fully excavated, but it has not yet been able to show its complete appearance. The article pays close attention to du Fu's understanding and expression of self in his poems, and holds that du Fu inherits and breaks through the tradition of "self-dazzling" and "self-thinning" in poetry on the theme of "no encounter", and extends the perspective of self-examination. The thesis is divided into three chapters to discuss three kinds of self-cognition and performance in du Fu's poems. The first chapter examines du Fu's "Gao self-proclaimed Xu", and thinks that du Fu has inherited the tradition of "self-effacing" and developed his own characteristics in proving his ability to enter the official position and conduct himself. Specifically, in the declarative selfie, the expression of "historical narration" is chosen more frequently than qu Sao's "virtuous and foolish comparison", so as to get out of the single, emotional and subjective self-dazzling mode. Personal narration reflects a stronger sense of self-concern and self-affirmation in a richer and truer way. With the help of chanting things to show off themselves, on the one hand, they realize the "separation of things from others" in form, thus away from the traditional "self-dazzling" style; on the other hand, they are generous in the atmosphere of image selection, image description, and purposive intention. The self-knowledge and belief of Da Cai reveal deeper conceit. The second chapter discusses du Fu's "self-seeking estrangement", and holds that du Fu expresses his resentment against the court, alienation and affirmation of his personal value in his seclusion in his choice of birth. First of all, du Fu inherited the popular style of seeking frustration in the early Tang Dynasty by "the Declaration of running away," and expressed his affirmation, satisfaction and deep feeling of anger about his seclusion in a richer manner after abandoning his official position. Through the selective use of allusions, du Fu discriminates over and over its hidden nature, and deliberately distinguishes it from the high-flying hermit, expressing his resentment against those in power, his psychology of avoiding mischief and his determination to stay away from his official duties for life, thus hinting at a side where talent is never met. Finally, Du Fu's contradiction between his deep desire for "courtiers meeting each other" and the helpless choice of "seeking estrangement" with his semantic conflict not only maintains the self-esteem and self-respect of scholars, but also expresses his sad feelings about his bumpy experiences. The third chapter discusses du Fu's expansion of his own perspective. In addition to Gao's estrangement, du Fu looks at himself from the perspective of personal gain and loss, based on the suffering of real life. First of all, he mocked his lazy personality, expressed his self-affirmation in derogatory form, with a deeper irony, and at the same time presented a calm attitude which did not rush to self-defense, reflecting rational self-knowledge and responsibility for fate; and, He joked at his helpless situation and, by revealing embarrassment and pleasure in suffering, drew up an embarrassing self-image, showing contempt for and attitude to misery; and finally, he depicted a tiny self-image in misery, On the other hand, with broad background, beautiful image, persistent mind force, form a magnificent and free style, artistically express the cognition of the relationship between individual finiteness and destiny oppression, and burst out the free life force in the block. To achieve the failure of the end of the transcendence.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.22

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