“風騷”精神與晚清詞學觀的演進
發(fā)布時間：2018-08-27 14:46
【摘要】：“風騷”傳統(tǒng)在詞學發(fā)展史中發(fā)揮著重要作用。鑒于此,以“風騷”精神的繼承和發(fā)展為線索,選擇張惠言、陳廷焯、鄭文焯、況周頤為詞家代表,梳理出清末詞家接受《風》《騷》藝術傳統(tǒng)的歷史進程,探尋“風騷”精神在詞學觀及其批評范式構(gòu)建中的作用和意義。清末詞家在繼承“風騷”傳統(tǒng)的基礎上,以詞為根本,從詞體、詞法、詞學批評等角度出發(fā),不斷重塑著詞學的內(nèi)涵,也發(fā)展了“風騷”的精神實質(zhì)。第一章以“風騷”之原義及其演變過程為根本,從“比興”藝術手法、“風”的現(xiàn)實主義情感和“騷”的浪漫憂怨情懷角度,闡釋“風騷”傳統(tǒng)的精神實質(zhì),分析其在中國詩學史上的意義和作用。第二章以張惠言為代表,分析經(jīng)學家汲取風騷精神的路徑,指出其論詞以儒家詩教思想為基礎,以“風騷”精神為依托,主張推尊詞體,提倡“意內(nèi)言外”“比興寄托”的論詞方法,注重詞的意格,追求“雅正”的品格以及“深美閎約”的詞學批評標準,闡發(fā)了具有時代特色的詞學經(jīng)典觀。第三章以陳廷焯為代表,分析詩學家吸收風騷精神的態(tài)度,依次從詞體觀、詞史觀、詞學批評標準方面,分析其在不同時期樹立的經(jīng)典詞人以及作品,探尋其“忠厚”之詞心、“比興”之詞法、“敦厚”的詞品等詞學主張以及其詞學批評標準的詩學底蘊。第四章以鄭文焯為代表,分析傾向美學批評的詞家傳承風騷精神的特點,依次從他對“清空”“直尋”“賦比興”的解讀,闡述“風騷”精神影響下的詞學批評體系。第五章以況周頤為代表,分析偏向藝術批評的詞家繼承風騷精神的態(tài)度,依次探討了“詞心”“襟抱”“詞格”的詞學主張所具有的風騷藝術精神。結(jié)語部分從晚清代表詞家對“風騷”精神的繼承與發(fā)展和“風騷”精神在文學、文藝學構(gòu)建的意義角度,總結(jié)“風騷”精神在晚清詞壇的地位及作用,揭示其對后世文學潛移默化的影響。
[Abstract]:The tradition of FengSao plays an important role in the development of ci poetry. In view of this, taking the inheritance and development of the spirit of "Feng Sao" as the clue, choosing Zhang Huiyan, Chen Tingzhuo, Zheng Wenzhuo and Kuang Zhou Yi as representatives of ci writers, the historical process of ci writers' acceptance of the art tradition of "Wind" and "Sao" in the late Qing Dynasty was sorted out. To explore the role and significance of FengSao spirit in the construction of ci theory and its critical paradigm. In the late Qing Dynasty, on the basis of inheriting the tradition of "Feng Sao" and taking ci as the foundation, from the perspective of ci style, morphology and ci criticism, ci writers constantly reshaped the connotation of ci poetry and developed the spirit essence of "Feng Sao". The first chapter is based on the original meaning and evolution process of "Feng-Sao", explains the spirit essence of "Feng-Sao" tradition from the angle of "Bixing" art technique, "Feng" 's realistic emotion and "Sao" 's romantic grievances. Analyze its significance and function in the history of Chinese poetics. The second chapter takes Zhang Huiyan as the representative, analyzes the way that the scholars learn the spirit of FengSao, and points out that his theory of ci is based on the Confucian poetic teaching thought, and based on the spirit of "Feng Sao", and advocates that the ci style should be pushed forward and respected. It advocates the method of "meaning inside words" and "Bi Xing sustenance", pays attention to the meaning of words, pursues the character of "elegance" and the standard of ci criticism of "deep beauty Hong covenant", and expounds the classical view of ci with the characteristics of the times. The third chapter takes Chen Tingzhuo as the representative, analyzes the poetics' attitude of absorbing the spirit of Feng Sao, from the aspects of ci style view, ci history view, ci criticism standard, analyzes the classical ci writers and works set up in different periods, and explores his "honest" ci heart. The ci-style of "Bi Xing", the propositions of ci-ci of "Dunhou" and the poetics of its standard of ci-poetry criticism. The fourth chapter takes Zheng Wenzhuo as the representative, analyzes the characteristic of inheriting the spirit of Feng Sao by the ci writer who tends to aesthetic criticism, and expounds the ci criticism system under the influence of the spirit of "Feng Sao" from his interpretation of "Qing empty", "direct search" and "Fu Bi Xing". The fifth chapter, represented by Kuang Zhouyi, analyzes the attitude of ci writers who are inclined to artistic criticism to inherit the spirit of Feng Sao, and then discusses the artistic spirit of ci style. The conclusion part summarizes the position and function of FengSao spirit in the late Qing Dynasty from the perspective of the inheritance and development of the spirit of "Feng-Sao" and the significance of the construction of "Feng-Sao" spirit in literature and literature. It reveals its influence on the literature of later generations.
【學位授予單位】：安徽師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.23
[Abstract]:The tradition of FengSao plays an important role in the development of ci poetry. In view of this, taking the inheritance and development of the spirit of "Feng Sao" as the clue, choosing Zhang Huiyan, Chen Tingzhuo, Zheng Wenzhuo and Kuang Zhou Yi as representatives of ci writers, the historical process of ci writers' acceptance of the art tradition of "Wind" and "Sao" in the late Qing Dynasty was sorted out. To explore the role and significance of FengSao spirit in the construction of ci theory and its critical paradigm. In the late Qing Dynasty, on the basis of inheriting the tradition of "Feng Sao" and taking ci as the foundation, from the perspective of ci style, morphology and ci criticism, ci writers constantly reshaped the connotation of ci poetry and developed the spirit essence of "Feng Sao". The first chapter is based on the original meaning and evolution process of "Feng-Sao", explains the spirit essence of "Feng-Sao" tradition from the angle of "Bixing" art technique, "Feng" 's realistic emotion and "Sao" 's romantic grievances. Analyze its significance and function in the history of Chinese poetics. The second chapter takes Zhang Huiyan as the representative, analyzes the way that the scholars learn the spirit of FengSao, and points out that his theory of ci is based on the Confucian poetic teaching thought, and based on the spirit of "Feng Sao", and advocates that the ci style should be pushed forward and respected. It advocates the method of "meaning inside words" and "Bi Xing sustenance", pays attention to the meaning of words, pursues the character of "elegance" and the standard of ci criticism of "deep beauty Hong covenant", and expounds the classical view of ci with the characteristics of the times. The third chapter takes Chen Tingzhuo as the representative, analyzes the poetics' attitude of absorbing the spirit of Feng Sao, from the aspects of ci style view, ci history view, ci criticism standard, analyzes the classical ci writers and works set up in different periods, and explores his "honest" ci heart. The ci-style of "Bi Xing", the propositions of ci-ci of "Dunhou" and the poetics of its standard of ci-poetry criticism. The fourth chapter takes Zheng Wenzhuo as the representative, analyzes the characteristic of inheriting the spirit of Feng Sao by the ci writer who tends to aesthetic criticism, and expounds the ci criticism system under the influence of the spirit of "Feng Sao" from his interpretation of "Qing empty", "direct search" and "Fu Bi Xing". The fifth chapter, represented by Kuang Zhouyi, analyzes the attitude of ci writers who are inclined to artistic criticism to inherit the spirit of Feng Sao, and then discusses the artistic spirit of ci style. The conclusion part summarizes the position and function of FengSao spirit in the late Qing Dynasty from the perspective of the inheritance and development of the spirit of "Feng-Sao" and the significance of the construction of "Feng-Sao" spirit in literature and literature. It reveals its influence on the literature of later generations.
【學位授予單位】：安徽師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.23
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