本文選題：唐代 + 鳥獸賦��； 參考：《廣西師范大學》2017年碩士論文

【摘要】：鳥獸賦是指以鳥獸為描寫對象或以鳥獸意象來抒情言志的賦,此類賦的出現(xiàn)與上古鳥獸文化有一定關系,并伴隨著賦體文學發(fā)展的始終。鳥獸賦的創(chuàng)作最早出現(xiàn)在漢代,魏晉繼之。降至唐代,鳥獸賦的數(shù)量激增,此時的鳥獸賦創(chuàng)作既延續(xù)了先唐鳥獸賦的特點,又呈現(xiàn)出具有自身特色的時代特征。本文以史為綱,在整體觀照的基礎上,分析總結(jié)不同時期唐代鳥獸賦的發(fā)展狀況及創(chuàng)作特征,在立足文本的同時,結(jié)合時代背景及賦體文學的發(fā)展特征,探究唐代鳥獸賦的思想內(nèi)容特征、藝術特征以及典型的鳥獸賦創(chuàng)作。通過對相關內(nèi)容的分析與論述,力求挖掘唐代鳥獸賦在賦史中的價值和意義。本文分五章對唐代鳥獸賦進行分析、論述:緒論部分主要是對鳥獸賦進行界定,確定研究范圍及對象,并歸納總結(jié)唐代鳥獸賦的相關研究情況,提出研究方法和思路。第一章論述鳥獸賦的緣起及先唐鳥獸賦的發(fā)展�，F(xiàn)存最早的鳥獸賦是西漢賈誼的《漣鳥賦》,但鳥獸形象卻早在《詩經(jīng)》、《楚辭》及諸子散文中就已出現(xiàn)。先秦時期的鳥獸形象并不是獨立的審美對象,而是作品借以鋪敘和抒情的手段�！对娊�(jīng)》中鳥獸形象的出現(xiàn),為后來的鳥獸賦寫作提供了題材來源,《楚辭》中借鳥獸以象征的手法,諸子散文中借鳥獸以寓意(說理)的寓言手法,為后來的鳥獸賦寫作提供了素材和可供借鑒的表現(xiàn)手法。在先秦創(chuàng)作實踐的影響下,鳥獸賦在兩漢時初步發(fā)展,在魏晉南北朝時期進一步發(fā)展,并為唐代鳥獸賦的繁榮奠定了基礎。第二章對唐代各期鳥獸賦的創(chuàng)作情況進行概述,分初唐、盛唐、中唐、晚唐四個階段進行論述,從整體上把握唐代鳥獸賦的發(fā)展概況。初唐時期的鳥獸賦創(chuàng)作,從整體上并未擺脫齊梁時期賦風的影響,賦體形式以駢賦為主,主題內(nèi)容兼有頌圣和詠物抒情。盛唐時期鳥獸賦的體裁樣式已不再是駢賦一家獨大,而是出現(xiàn)了更加多樣化的局面,駢賦、律賦、騷體賦、散體賦兼而有之;在內(nèi)容方面,題材較之初唐時期更為擴大,感情也更加熱烈奔放,對于自身主體意識的表達更為深刻,這一時期的鳥獸賦創(chuàng)作的主體意識更加高揚。中唐是鳥獸賦的全盛時期,也是律賦漸趨定型的時期,因而此時的鳥獸賦以律賦為主;同時由于中唐時期政治的動蕩、變革,此時的鳥獸賦多有對“風”“騷”精神的繼承。晚唐鳥獸賦存目較少,體式方面以律賦和新文賦為主,其創(chuàng)作主題雖沒有脫離當時大的主題范圍,但卻在感傷中抱以希望。第三章主要論述唐代鳥獸賦的思想內(nèi)容。唐代鳥獸賦的思想內(nèi)容主要有三個方面的表現(xiàn):一是抒情言志,二是稱頌圣德,三是摹形詠物。第四章論述唐代鳥獸賦的藝術特征。主要從創(chuàng)作傾向、體式和語言三個方面分析。唐代鳥獸賦最基本的特征就是托物以抒情的創(chuàng)作傾向;作為情感載體的鳥獸賦,則在體裁形式上涉及到了律賦、駢賦、新文賦、騷賦、俗賦、散體賦六種形式;在語言上呈現(xiàn)出精工典麗的特點。第五章論述唐代鳥獸賦的典型代表及其出現(xiàn)的原因。唐代鳥獸賦典型的代表是猛禽賦和詠馬賦。猛禽賦主要出現(xiàn)在盛唐時期,其最為突出的一個主題是對遠大志向和宏偉抱負的抒發(fā),其中時代因素、文學基礎和內(nèi)在因素是猛禽賦出現(xiàn)的主要原因。詠馬賦主要出現(xiàn)在中唐時期,諷諭性是其最突出的特點,其中社會與歷史文化背景的影響及文學自身發(fā)展的影響是其出現(xiàn)的主要原因。結(jié)語部分主要對文章的主體脈絡進行梳理,肯定唐代鳥獸賦的文學、藝術和思想價值。
[Abstract]:Bird and animal Fu refers to the ode to the description of birds or animals or the images of birds and animals. The emergence of this kind of Fu has a certain relationship with the culture of ancient birds and animals, and along with the development of Fu literature. The creation of bird and animal Fu first appeared in the Han and Wei and Jin Dynasties. The number of birds and animals has increased sharply to the Tang Dynasty, and the creation of birds and animals is not only continued. The characteristics of the first Tang Dynasty and the bird and animal Fu are characterized by their own characteristics. This article, based on the history as the outline, analyzes and summarizes the development and creative characteristics of the birds and animals in the Tang Dynasty in different periods on the basis of the overall view. At the same time, based on the text, it combines the background of the times and the characteristics of the development of the Fu literature to explore the thought of the bird and animal Fu in the Tang Dynasty. Characteristics, artistic features and the creation of a typical bird and animal Fu. Through the analysis and discussion of the related contents, we strive to excavate the value and significance of the bird and animal Fu in the Tang Dynasty in the history of Fu. This article is divided into five chapters to analyze the bird and animal Fu in the Tang Dynasty. The introduction part is mainly to determine the boundary of bird and animal Fu, determine the scope and object of the study, and sum up the Tang Dynasty. The first chapter discusses the origin of bird and animal Fu and the development of bird and beast Fu in the first chapter. The earliest extant bird and animal Fu is Jia Yi's Fu of the Western Han Dynasty, but the image of birds and birds appeared in the Book of Songs > Chu Ci > and the essays of Zhuzi. The image of birds and animals in the pre Qin period was not an independent aesthetic. The object is the means of narration and lyric. The appearance of the image of the birds and animals in the "Book of Songs >" provides the source of the subject for the writing of the later bird and animal writing, and the symbolic manipulation of the birds and beasts in the songs of Chu, and the fable techniques of the birds and beasts in his prose for the later bird and animal writing. Under the influence of the pre Qin creation practice, the bird and animal Fu developed initially in the Han Dynasty, developed further in the period of the Wei, Jin and Northern and Southern Dynasties, and laid the foundation for the prosperity of the bird and animal Fu in the Tang Dynasty. The second chapter summarized the creation of birds and animals in the Tang Dynasty, and discussed the four stages of the early Tang Dynasty, the Tang Dynasty, the middle Tang and the late Tang Dynasty, and grasped the Tang Dynasty as a whole. The development of bird and animal Fu, the creation of bird and animal Fu in the early Tang Dynasty did not get rid of the influence of Fu wind in the period of the Qi Liang period. The style of Fu was mainly composed of parallel prose, and the theme and content both sang and sang the emotion. The style of the bird and animal Fu in the Tang Dynasty is no longer a single family, but a more diversified situation, parallel Fu, and Fu. In the content aspect, the subject matter is more extensive than the early Tang Dynasty, the emotion is more enthusiastic, the expression of the body consciousness is more profound, the subjective consciousness of the creation of bird and animal Fu is higher in this period. The middle Tang is the full flourishing period of the bird and animal Fu and the period of the gradual setting of the law Fu. At the same time, because of the political turmoil and change in the middle Tang Dynasty, the bird and animal Fu inherited the spirit of "wind" and "Sao" at the same time. The ideological content of the bird and animal Fu in the Tang Dynasty is mainly discussed. The ideological content of the bird and animal Fu in the Tang Dynasty mainly consists of three aspects: one is Lyric expression, the two is the praise of Saint virtue and the three is the description of the animals. The fourth chapter discusses the artistic features of the bird and animal Fu in the Tang Dynasty. It mainly analyzes the basic characteristics of the bird and animal Fu in the Tang Dynasty from the three aspects of the creation tendency, the style and the language. The bird and animal Fu, as the carrier of emotion, has six forms in the form of genre, such as Fu, parallel Fu, new prose, Sao Fu, vulgar Fu, and prose. In the language, the fifth chapters discuss the typical representative of the bird and animal Fu in the Tang Dynasty and the typical representative of the bird and animal Fu in the Tang Dynasty. The most prominent theme in the Tang Dynasty is the Raptor and Yong Ma Fu. One of the most prominent themes is the expression of lofty aspirations and ambitions. The main reasons for the emergence of the Raptor are the times, the literary basis and the internal factors. The influence of the historical and cultural background and the influence of the development of literature itself is the main reason for its emergence. The concluding part mainly combs the main body of the article and affirms the literary, artistic and ideological values of the bird and animal Fu in the Tang Dynasty.

【學位授予單位】：廣西師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.22

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