本文選題：納蘭詞 + 風(fēng)格特征　； 參考：《廣西師范大學(xué)》2017年碩士論文

【摘要】：納蘭性德是清代的一個(gè)優(yōu)秀的文學(xué)家和詞作家,他的作品風(fēng)格婉約優(yōu)美,具有獨(dú)特的風(fēng)格特征,是繼宋代之后在詞方面具有深遠(yuǎn)影響的清代作家。納蘭性德著有《通志堂集》,并有《經(jīng)解》之篆刻。成就最高的是詞,詞集初名《側(cè)帽》,后增補(bǔ)為《飲水詞》,后人又曾匯輯全部作品題集《納蘭詞》。本文從美學(xué)的視角,運(yùn)用美學(xué)理論對(duì)納蘭詞意象結(jié)構(gòu)及審美意蘊(yùn)作深入細(xì)致的分析,著重從納蘭詞的風(fēng)格特征、意象結(jié)構(gòu)、意境與情感表達(dá)、審美意蘊(yùn)四個(gè)方面進(jìn)行了研究,把納蘭詞置于美學(xué)的視野和語(yǔ)境下展開(kāi)討論,梳理闡釋其作品的意義和審美價(jià)值。首先,本文認(rèn)為,納蘭的詩(shī)詞具有獨(dú)特的風(fēng)格特征,其風(fēng)格一方面是對(duì)宋代的花間詞派的繼承,并與其個(gè)性氣質(zhì)結(jié)合形成了一種婉約秀美的風(fēng)格,但是他的詞在婉約中又有自己獨(dú)特的韻味,這種獨(dú)特的風(fēng)格韻味與納蘭詞的獨(dú)特的意象結(jié)構(gòu)密切相關(guān)。其次,納蘭在襲用前人意象的基礎(chǔ)上,根據(jù)審美形式規(guī)律和本人的情感表達(dá)需要將單獨(dú)的意象或復(fù)合意象,精巧的進(jìn)行組接和排列,形成了獨(dú)特新穎的納蘭意象結(jié)構(gòu)和愁情詞境,來(lái)表達(dá)自己凄婉感傷的真摯情感。再次,從納蘭詞清新流暢的語(yǔ)言與格調(diào)的清麗嫻雅角度把握納蘭詩(shī)意化的語(yǔ)言。最后,從意象結(jié)構(gòu)的獨(dú)特新穎中分析納蘭的情感表達(dá)。在分析了納蘭詞的獨(dú)特意象結(jié)構(gòu)的基礎(chǔ)上,本文重點(diǎn)分析了納蘭詞在意象組合的具體表現(xiàn),納蘭在詞作中頻繁把“花”、“月”意象和“斜陽(yáng)”、“燈”、“西風(fēng)”組合,并和意象連綴“寒”、“冷”、“殘”、“斷”搭配使用,通過(guò)剖析這些組合背后的象征暗示,并探尋納蘭審美心理和審美情感的根源。對(duì)納蘭詞的獨(dú)特意象結(jié)構(gòu)的分析,目的在于闡述其詞作的意境特征,因此,本文重點(diǎn)分析了納蘭在詞中具象的意境表達(dá),包括三個(gè)方面:(1)“花”、“月”、“夢(mèng)”中構(gòu)筑的纏綿凄婉的境界;(2)“斜陽(yáng)”、“燈燭”、“西風(fēng)”里的惆悵;(3)“凄迷”、“愁怨”與“春恨秋悲中的追問(wèn)”。在納蘭匠心獨(dú)運(yùn)的構(gòu)境中,我們了解到他在思考自我存在的生命意義,并去追問(wèn)人生的終極意義。這種追問(wèn)不僅僅是對(duì)自我苦難的吟詠,而且還上升到對(duì)人類生命和憂患與苦難的思考,他超越自我一己的感傷而將整個(gè)人類生命悲感作為審視和思考的對(duì)象,將自己的痛苦推衍到全人類的痛苦,從而完成其生命哲學(xué)的詩(shī)化。納蘭詞的這種獨(dú)特的意象結(jié)構(gòu)和情感表達(dá)與作者的身世和個(gè)性氣質(zhì)具有不可分割的聯(lián)系,本文分析了納蘭詞中一以貫之和別具一格的陰柔感傷特質(zhì)和悲傷浪漫的個(gè)性氣質(zhì)的密切關(guān)聯(lián)之后,探究和闡述了詞人的獨(dú)特詞風(fēng)與其個(gè)性氣質(zhì)的關(guān)系;從悲傷浪漫的個(gè)性氣質(zhì)中分析納蘭詞詩(shī)意化的意象結(jié)構(gòu);從詞作中以“寒”、“冷”、“殘”為基調(diào)的意象結(jié)構(gòu)中領(lǐng)會(huì)包含納蘭主體意識(shí)和情感色彩的柔婉凄哀情思。從作品語(yǔ)言中找尋其趣味偏向,并從其優(yōu)美感傷的意境中去挖掘和體會(huì)其“味外之旨”,以深入闡述其詞作的文學(xué)境界中的哲學(xué)意蘊(yùn)和審美韻味。最后,本文綜述了納蘭詞中所有意象的最終指向:人生虛無(wú)感、人生無(wú)聊感,他用感性而生動(dòng)的意象表達(dá)的是他對(duì)人生的理解:人生虛無(wú)與無(wú)聊,從具體的情感表達(dá)上升到對(duì)人生意義的形而上的追問(wèn),闡述了納蘭詞中獨(dú)具匠心的意象組合,所構(gòu)筑的感傷凄婉的意境中所蘊(yùn)含的美學(xué)意蘊(yùn)和哲學(xué)思考。
[Abstract]:He is an excellent writer and writer of the Qing Dynasty. His style is graceful and graceful and has unique style features. It is a Qing Dynasty writer who has a profound influence on words after the Song Dynasty. From the perspective of aesthetics, this article makes a thorough and detailed analysis of the image structure and aesthetic implication of the words from the aesthetic perspective, focusing on the four aspects of the style, the image structure, the artistic conception and the emotional expression, and the aesthetic implication. The meaning and aesthetic value of his works are combed and discussed in the field of vision and context. First, this article holds that the poems of LAN have unique style features, and their style is the inheritance of the poetry of the Song Dynasty on one hand, and a graceful style is formed by combining with his personality, but his words are in the euphemism. The unique charm is closely related to the unique image structure of the French words. Secondly, on the basis of the predecessors' image, he has formed a unique and novel image of the land, based on the laws of aesthetic form and the emotional expression of his own. Structure and melancholy words to express their sad and sentimental sincere feelings. Again, from the fresh and smooth language and the elegant and elegant angle of the Naban words, grasp the poetic language of Nan LAN. Finally, analyze the emotional expression of Nan from the unique novelty of the image structure. On the basis of the analysis of the unique image structure of Nan LAN, this paper emphasizes the unique image structure of Nan LAN. This paper analyzes the concrete manifestation of the combination of nananci in the combination of images. In his ci poetry, he frequently combines "flower", "Moon" image, "Yang", "light" and "west wind", and the combination of "cold", "cold", "residual" and "broken" with images, by analyzing the symbolic hints behind these combinations and exploring the aesthetic psychology and trial of Nanan. The purpose of the analysis of the unique image structure of the nananci is to explain the artistic conception of his word. Therefore, this article focuses on the analysis of the expression of the artistic conception of the words in the words, including three aspects: (1) "flower", "Moon" and "dream"; (2) "inclined Yang", "candles", "westerly wind" Melancholy; (3) "Misery", "sorrow and resentment" and "inquiring in the sorrow of autumn in autumn". In the context of his ingenuity, we understand that he is thinking about the meaning of life and the ultimate meaning of life. This inquiry is not only a chant to self suffering, but also to the life and suffering and suffering of mankind. Thinking, he transcends the sentimentality of his own self, and takes the whole human life sad feeling as an object of examination and thinking, and pushes his pain to the suffering of all human beings, thus completing his poetry of life philosophy. This unique image structure and emotional expression of the words have inseparable relations with the author's life and personality. After analyzing the close connection with the unique feminine and sentimental characteristics and the romantic personality, the paper explores and expounds the relationship between the unique word wind and his personality, and analyzes the poetic image structure of the words from the sad and romantic personality of the words, and the "cold" and "cold" from the CI poetry. In the image structure of the "remnant" as the keynote, we comprehend the gentle and sad sentiments containing the subjective consciousness and emotional color of nelan. Find out its interest bias from the language of the works, and dig out and appreciate the "gist of taste" from its beautiful and sentimental mood, in order to elaborate the philosophical meaning and aesthetic charm of his literary realm. This paper summarizes the ultimate direction of all images in nnan's words: life's nihilism and boredom in life. He expresses his understanding of life with his perceptual and vivid imagery: his life's nihility and boredom, from specific emotional expression to the metaphysical pursuit of the meaning of life, and the construction of the unique combination of imagery in the Nenan words. The aesthetic implication and philosophical thinking contained in the sentimental and sad artistic conception.

【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.23

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 劉曉萍;;論納蘭性德詞的題材內(nèi)容[J];桂林師范高等�？茖W(xué)校學(xué)報(bào);2015年01期

2 羅智偉;;中國(guó)傳統(tǒng)文化中月亮文化意蘊(yùn)[J];宜春學(xué)院學(xué)報(bào);2012年11期

3 林傳濱;;晚清詞壇與納蘭詞的接受[J];中國(guó)韻文學(xué)刊;2011年03期

4 畢國(guó)忠;;康乾盛世和諧文化的先聲——略談納蘭性德的文化地位[J];承德民族師專學(xué)報(bào);2010年04期

5 烏爾沁;;納蘭性德邊塞詞中的情感世界和隱逸意境[J];民族文學(xué)研究;2009年04期

6 曹香珍;陳霖;;論納蘭性德詞中的月意象[J];重慶職業(yè)技術(shù)學(xué)院學(xué)報(bào);2008年06期

7 李曉明;王喜伶;;論納蘭詞的化用之美[J];中國(guó)韻文學(xué)刊;2008年02期

8 李曉明;;納蘭性德詩(shī)詞意象組合方式及其所呈現(xiàn)的美學(xué)風(fēng)貌[J];理論月刊;2007年11期

9 李國(guó)春;;論古代文學(xué)中的夕陽(yáng)意象[J];中國(guó)文學(xué)研究;2006年02期

10 王瑩;月亮意象:從古典到現(xiàn)代的流變[J];河南師范大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2003年01期

相關(guān)碩士學(xué)位論文 前6條

1 趙銳;清初傷悼詞研究[D];山東師范大學(xué);2015年

2 崔雙;納蘭性德文學(xué)思想研究[D];華中師范大學(xué);2012年

3 馮曦緣;納蘭性德詩(shī)詞比較研究[D];西北師范大學(xué);2011年

4 鄧蘭;納蘭詞審美意象研究[D];廣西師范大學(xué);2011年

5 唐晨;花間詞意象研究[D];湖南大學(xué);2010年

6 劉萱;納蘭性德的佛學(xué)思想與其詞作的關(guān)系[D];黑龍江大學(xué);2004年

，

本文編號(hào)：1848505