本文選題：毛先舒 + 詩辯坻�。� 參考：《江南大學(xué)》2017年碩士論文

【摘要】：《詩辯坻》是明清格調(diào)詩論發(fā)展脈絡(luò)上重要的詩學(xué)理論著作之一,毛先舒論詩上承明前后七子,下接清代沈德潛�！对娹q坻》在繼承明代格調(diào)論核心觀點(diǎn)的基礎(chǔ)上,規(guī)避七子泥古弊端,綜合公安、竟陵兩派詩學(xué)主張,以情入格,兼采“格調(diào)”、“性靈”之長。結(jié)合明末清初學(xué)術(shù)背景,毛先舒論詩崇尚復(fù)古與儒家詩教,建立了以“攄情有方”、“稽古日新”、“法格融渾”為主要內(nèi)涵的格調(diào)詩論,顯示了明清兩代格調(diào)詩說的發(fā)展演變。本文梳理了毛先舒格調(diào)詩論的歷史語境,歸納了其論詩主張,呈現(xiàn)了其詩學(xué)價值。論文由緒論、正文、結(jié)語三部分組成。緒論介紹毛先舒及其詩學(xué)思想的研究現(xiàn)狀,以此說明選題意義。正文分為三章,包括《詩辯坻》格調(diào)詩論的歷史語境、主要內(nèi)涵及詩學(xué)價值。最后,對毛先舒《詩辯坻》格調(diào)詩論進(jìn)行總結(jié)并給予評價。第一章分析毛先舒格調(diào)詩論的歷史語境。首先,從詩歌理論自身發(fā)展變化的理路進(jìn)行討論。梳理“格調(diào)”內(nèi)涵,確定毛先舒的“格調(diào)”兼具形式與內(nèi)容兩重意蘊(yùn)。以明代格調(diào)詩學(xué)發(fā)展路徑為中心,歷時性分析其發(fā)展演變的過程,為清代格調(diào)詩論的展開作理論上的鋪墊。其次,考慮毛先舒格調(diào)詩論產(chǎn)生的外部環(huán)境。梳理以公安派為代表的“性靈說”的主要觀點(diǎn)及其對格調(diào)詩學(xué)的影響。此外,以復(fù)古和詩教回歸為切入點(diǎn),分析明末清初社會現(xiàn)實(shí)對學(xué)術(shù)思想的影響。第二章闡釋《詩辯坻》的格調(diào)論主張。從詩歌本質(zhì)論、復(fù)古觀、詩歌創(chuàng)作技法等三個方面理解毛先舒建立的格調(diào)詩論。首先,毛先舒主情,持詩緣情而發(fā)的觀點(diǎn),同時,他也強(qiáng)調(diào)所抒之情的雅正,情感抒發(fā)的節(jié)制,主張以詩人的人格修養(yǎng)來實(shí)現(xiàn)情感的合理抒發(fā)。其次,以師古為作詩路徑,確定《詩經(jīng)》源頭風(fēng)尚,以漢魏盛唐為宗,適當(dāng)拓展至晚唐,同時堅(jiān)持新變,要求“始于稽古,終于日新”。最后,論詩崇法,對字句篇法均有具體要求,以“斂才就格”突顯法的重要,在求法時要求法格渾融,推崇含蓄詩風(fēng)。第三章討論毛先舒格調(diào)詩論的價值。首先,毛先舒論詩雖主張“溫柔敦厚”詩教說,但更強(qiáng)調(diào)詩歌的審美特征,與詩歌的政教傳統(tǒng)有一定疏離。其次,他論詩修正明代格調(diào)論遺留問題,在詩歌情感方面豐富了格調(diào)說內(nèi)涵,在“溫柔敦厚”詩教說與“重人格”等論說中與沈德潛的格調(diào)說同中有異,客觀上發(fā)展了格調(diào)論并溝通了明清兩代格調(diào)詩說。總之,毛先舒《詩辯坻》修正、發(fā)展了明代格調(diào)論,辯證吸收“性靈”觀點(diǎn),發(fā)清代格調(diào)論先聲,是明清格調(diào)詩論發(fā)展鏈條上的重要一環(huán)。
[Abstract]:"poetic argument" is one of the important works of poetics theory in the development of poetic theory of the Ming and Qing dynasties. Mao Xianshu wrote poems about the seven sons before and after the Ming Dynasty, followed by Shen Deqian in the Qing Dynasty. On the basis of inheriting the core views of the style theory of the Ming Dynasty, In order to avoid the defects of Qizi Nigu, comprehensive public security, Jingling two schools of poetics advocate, with feelings into the case, and adopt "style", "spirit" strong. In combination with the academic background of the late Ming and early Qing dynasties, Mao Xianshu advocated retro poetry and Confucian poetry education, and established a stylistic poetic theory with the main connotations of "the Father has a good feeling", "Ji Gu Rixin" and "Fa GE melt muddy" as the main connotation. It shows the development and evolution of the style poem theory in Ming and Qing dynasties. This paper combs the historical context of Mao Xianshu's poetic theory, sums up his propositions on poetry and presents its poetic value. The paper consists of three parts: introduction, text and conclusion. Introduction introduces Mao Xianshu and his poetics research status, so as to explain the significance of the topic. The text is divided into three chapters, including the historical context, main connotation and poetic value. Finally, the author summarizes and evaluates Mao Xianshu's poetic theory of poetic style. The first chapter analyzes the historical context of Mao Xianshu's poetic theory. First of all, from the poetry theory itself development and change of the rational way to discuss. Combing the connotation of "style", determine that Mao Xianshu's "style" has both form and content. Taking the development path of stylistic poetics in Ming Dynasty as the center, the diachronic analysis of the process of its development and evolution is the theoretical basis for the development of the poetic theory of style in the Qing Dynasty. Secondly, consider the external environment of Mao Xianshu's poetic theory. This paper combs the main viewpoints of the "spirit of nature", represented by the police school, and its influence on the poetics of style. In addition, the paper analyzes the influence of social reality on academic thought in the end of Ming Dynasty and the beginning of Qing Dynasty. The second chapter explains the stylistic theory of "poetic argument". This paper tries to understand Mao Xianshu's stylistic poetry theory from three aspects: the essence of poetry, the view of retro times and the techniques of poetry creation. First of all, Mao Xianshu holds the viewpoint of poetic affection. At the same time, he emphasizes the elegance of the expressed feelings and the temperance of emotional expression, and advocates the rational expression of emotion by the poet's personality cultivation. Secondly, take Shigu as the path of poetry, determine the fashion of the source of the Book of songs, take the prosperous Han and Wei dynasties as the zong, expand appropriately to the late Tang Dynasty, at the same time insist on the new changes, and demand that "start from the ancient times, finally be new". In the end, there are specific requirements for the method of worshiping words and sentences, and the importance of the method is highlighted by "the ability of convergence and ability", and the style of implicit poetry should be respected when seeking the law. The third chapter discusses the value of Mao Xianshu's poetic theory. First of all, although Mao Xianshu advocated the "gentle and honest" theory of poetry, he emphasized the aesthetic characteristics of poetry, which was alienated from the tradition of politics and religion in poetry. Secondly, he revised the style theory of the Ming Dynasty, enriched the connotation of style theory in the aspect of poetry emotion, and differed from Shen Deqian's style theory in "gentle and honest" poetic teaching theory and "heavy personality" theory. Objectively, it develops the theory of style and communicates the theory of style poetry between Ming and Qing dynasties. In a word, the revision of Mao Xianshu's poetic criticism developed the theory of style in Ming Dynasty, dialectically absorbed the viewpoint of "spirit of nature", and made the first sound of style theory of Qing Dynasty, which is an important link in the chain of development of poetic theory of style in Ming and Qing dynasties.
【學(xué)位授予單位】：江南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.22

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 黃卓穎;;被遮蔽的個體:毛先舒“格調(diào)”詩說及其意義[J];浙江學(xué)刊;2016年04期

2 王遜;;明末的詩學(xué)反思與學(xué)風(fēng)轉(zhuǎn)型[J];西南民族大學(xué)學(xué)報(人文社科版);2015年06期

3 徐楠;;明代格調(diào)派詩歌情感觀再辨析——以考察該派對詩歌情感價值、限度的判斷為中心[J];文學(xué)評論;2015年03期

4 王遜;;末五子與晚明詩學(xué)[J];文藝評論;2014年10期

5 孫欣欣;;李沂《唐詩援》與明末清初詩歌思潮[J];文學(xué)遺產(chǎn);2013年02期

6 李永賢;;論清初詩歌選本中的詩學(xué)反思[J];鄭州大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2012年04期

7 胡小林;;明末清初西泠詞壇與詞學(xué)復(fù)興[J];中國韻文學(xué)刊;2011年03期

8 鄧紅梅;;論“格調(diào)”[J];文學(xué)遺產(chǎn);2009年01期

9 蔣寅;;清初錢塘詩人和毛奇齡的詩學(xué)傾向[J];湖南社會科學(xué);2008年05期

10 王順貴;;明代格調(diào)派詩學(xué)所遺留的矛盾與問題辨析[J];齊魯學(xué)刊;2008年04期

相關(guān)博士學(xué)位論文 前3條

1 王玉媛;清代格調(diào)派研究[D];蘇州大學(xué);2011年

2 趙娜;清代順康雍時期唐宋詩之爭流變研究[D];蘇州大學(xué);2009年

3 王順貴;清代格調(diào)論詩學(xué)研究[D];上海師范大學(xué);2004年

相關(guān)碩士學(xué)位論文 前10條

1 徐姜匯;李東陽《懷麓堂詩話》格調(diào)詩學(xué)研究[D];廣西民族大學(xué);2015年

2 煍，

本文編號：1854164