發(fā)布時(shí)間：2018-06-24 02:25

  本文選題：許學(xué)夷 + 葉燮　； 參考：《湖北民族學(xué)院》2017年碩士論文

【摘要】：許學(xué)夷與葉燮皆是中國(guó)古代著名的詩(shī)學(xué)理論家,近年來(lái),關(guān)于許學(xué)夷與葉燮“正變”說(shuō)的比較研究,風(fēng)毛鱗角。雖有相關(guān)文章涉及,但其研究沒有深入展開,尚未形成公論。本文以許學(xué)夷《詩(shī)源辯體》與葉燮《原詩(shī)》為研究文本,試圖對(duì)許學(xué)夷與葉燮的“正變”說(shuō)進(jìn)行比較研究,以闡明許學(xué)夷與葉燮“正變”說(shuō)的詩(shī)學(xué)內(nèi)涵,以及二者的正變價(jià)值取向。本文由緒論、正文、結(jié)語(yǔ)三部分組成。緒論部分主要簡(jiǎn)析評(píng)述近三十年國(guó)內(nèi)外關(guān)于許學(xué)夷與葉燮“正變”說(shuō)的研究現(xiàn)狀,并闡述本研究課題的選題背景及現(xiàn)實(shí)意義。正文共分為三章,主要比較研究許學(xué)夷與葉燮的“正變”說(shuō)。第一章從詩(shī)之源流與詩(shī)之正變兩方面比較分析許學(xué)夷與葉燮詩(shī)歌發(fā)展觀的異同。在詩(shī)之源流上,許學(xué)夷與葉燮雖然都繼承了《三百篇》為源、《三百篇》而后為流的論詩(shī)傳統(tǒng),但在審其詩(shī)之源和詩(shī)之流時(shí),論述的方式迥異。關(guān)于詩(shī)之源,許學(xué)夷的論述呈現(xiàn)出多元性,可以歸結(jié)為“源之正”,葉燮的論述呈現(xiàn)出整體性,可以歸結(jié)為“源之盛”;關(guān)于詩(shī)之流,許學(xué)夷以“世次定盛衰”而論,葉燮以“遞衰遞盛”而論。在詩(shī)之正變上,許學(xué)夷與葉燮都繼承了“風(fēng)雅正變”思想,但在審其詩(shī)之正變時(shí),論述的方式迥異。關(guān)于詩(shī)歌正變之規(guī)律,許學(xué)夷從詩(shī)歌自律與他律的維度,認(rèn)為“同正異變”,葉燮從“正變系乎時(shí)”與“正變系乎詩(shī)”的維度,認(rèn)為“正變互為循環(huán)”;關(guān)于詩(shī)之變,許學(xué)夷以“變而入神”為最高境界,葉燮以“變能啟盛”為詩(shī)歌發(fā)展的動(dòng)力與整體趨勢(shì)。第二章從創(chuàng)作主體與創(chuàng)作方法兩方面比較分析許學(xué)夷與葉燮正變創(chuàng)作論的異同。關(guān)于創(chuàng)作主體,許學(xué)夷與葉燮認(rèn)為創(chuàng)作主體的識(shí)、才力與詩(shī)歌發(fā)展密切相關(guān)。許學(xué)夷提出“識(shí)為主,才力輔之”,有識(shí)正變自分,才力既大而詩(shī)之善變。葉燮提出“識(shí)為體才為用”,有識(shí)是非明,力大才堅(jiān)而詩(shī)之大變,自成一家。關(guān)于創(chuàng)作方法,許學(xué)夷與葉燮雖然都強(qiáng)調(diào)創(chuàng)作中對(duì)“正”與“變”的把握,但又略有不同。許學(xué)夷從詩(shī)歌體制規(guī)范之正與體式格調(diào)而論,提出“體有常法”、“格有所限”;葉燮則以“死法”與“活法”而論,強(qiáng)調(diào)詩(shī)歌創(chuàng)作應(yīng)遵循詩(shī)歌固有的形式規(guī)范與創(chuàng)新。而在取法于古人上,許學(xué)夷強(qiáng)調(diào)“取古人所長(zhǎng),濟(jì)己之短�！比~燮則主張“不忽略古人,不附會(huì)古人”。第三章,從對(duì)七子師古論和公安派、竟陵派師心論的批判中比較分析許學(xué)夷與葉燮力圖調(diào)和崇正與主變的正變批評(píng)論的異同。對(duì)于七子師古論的批判,許學(xué)夷與葉燮在分別以“于道為過”和“排變崇正”揭示其崇正思想偏頗的同時(shí),又主張對(duì)其做理性分析和擇優(yōu)闡述,并分別以“于正有得”和“執(zhí)源棄流”對(duì)其立足于正給予肯定。對(duì)于公安派、竟陵派師心論的批判,許學(xué)夷與葉燮在分別以“于道為離”和“矯枉過正”揭示其主變思想偏頗的同時(shí),也分別以“于變有得”和“得流棄源”對(duì)其立足于變給予肯定。結(jié)語(yǔ)部分總結(jié)分析許學(xué)夷與葉燮“正變”說(shuō)對(duì)傳統(tǒng)詩(shī)學(xué)的繼承與發(fā)展。
[Abstract]:Xu Xueyi and Ye Xie are the famous poetics theorists of ancient China. In recent years, the comparative study of Xu Xue and Xie Xie's "positive change" has been studied. Although there are related articles, the research has not been carried out in depth and has not yet formed a public comment. This article is a study of the text of the study of Xu Xue Yuan < poetry source > and Ye Xie < original poem > as the research text, trying to make a study of Xu Xueyi. A comparative study of the "positive change" theory of Ye Xie is made to clarify the poetic connotation of Xu Xue and Ye Xie's "positive change", as well as the positive value orientation of the two. This article is composed of the introduction, the text and the conclusion of the three parts. The introduction is a brief review of the current research status on the theory of Xu Xue Yi and the "positive change" of Xu Yi and Ye Xie in the past thirty years. The text is divided into three chapters. The main part is to compare the "positive change" of Xu Xue and Ye Xie. In the first chapter, the differences and similarities between Xu Xue and Ye Xie poetry are compared and analyzed from the two aspects of the origin of poetry and the positive change of poetry. < three hundred > the poem tradition of the later flow, but in the source of poetry and the stream of poetry, the way of discussion is quite different. On the source of the poem, Xu Xue's exposition is pluralistic, which can be attributed to "the source of the origin". Ye Xie's exposition is as a whole, which can be attributed to "the prosperity of the source"; and as to the flow of poetry, Xu Xueyi is "in prosperity and decline of the world". On the positive change of poetry, Xu Xue and Xie Xie inherited the thought of "elegance and change" in the positive change of poetry, but in the positive change of the poem, the way of discourse is quite different. In the second chapter, the second chapter compares and analyzes the similarities and differences between Xu Xueyi and Ye Xiezheng's theory of creation from the two aspects of the creative subject and the creation method. As the main body, Xu Xue and Ye Xie think that the creative subject's knowledge and talent are closely related to the development of poetry. Xu Xue proposed that "knowledge is the main part and talent is supplemented". Although Yi and Ye Xie all emphasize the grasp of "positive" and "change" in his creation, he has a slight difference. Xu Xue Yi, from the positive and physical style of the system of poetry, puts forward the "body and the law" and "the limit of the grid". Ye Xieze, with the "death law" and the "living law", emphasizes that poetry should follow the formal norms and creation of poetry. In the third chapter, from the criticism of the ancient theory of the seven sons and the public security school and the criticism of the Jingling School, Xu Xie analyzed the similarities and differences between Xu Xue and Ye Xie trying to adjust the criticism and the criticism of the main change. The critique of the ancient theory of the seven sons, Xu Xue and Xie Xie, at the same time of revealing the bias of his advocating thought by "Yu Tao is over" and "row change advocating", advocated a rational analysis and preferred exposition of it, and affirmed his foothold on Yu Zheng on the basis of "Yu Zheng has got" and "abandoning the flow of the source". At the same time, Xu Xue and Ye Xie, respectively, reveal the biased ideas of the main changes in their main changes, respectively, and give their foothold in the transformation. The concluding remarks summarize and analyze the inheritance and development of the traditional poetics by Xu Xue and Ye Xie.
【學(xué)位授予單位】：湖北民族學(xué)院
【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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