【摘要】：古人言:"詩道不出乎變復(fù)。變謂變古,復(fù)謂復(fù)古。"近古詩學(xué)的歷史,既表現(xiàn)為"變"與"復(fù)"的消長(zhǎng),又呈現(xiàn)"變"與"弊"的交替。以這一獨(dú)特視角梳理近古詩學(xué)的演變,審視其詩論主張,有利于我們清晰認(rèn)識(shí)和把握近古詩學(xué)的歷史,從中獲取一些有益的啟發(fā)。元明清三代,在這一問題上表現(xiàn)出不同的思維特點(diǎn)。宋人在擬古中求新變,至宋末詩弊已極。元人倡導(dǎo)"不二古今"救宋人之失。明人"復(fù)"與"變"各走極端,形成"詩必盛唐"與"各極其變"的對(duì)立,但"變""復(fù)"同是困境思維,在困境中尋求詩歌發(fā)展的出路,同樣都不成功。清人懲明人之失,拋棄極端思維,以為變與復(fù)"非二道",走向"變"與"復(fù)"之融通,且強(qiáng)調(diào)"神而明之",達(dá)到了新的理論高度。近代詩學(xué)和現(xiàn)代詩學(xué)也都可以看作是這一探討在新形勢(shì)下的延續(xù),不管是"以舊風(fēng)格含新意境"還是"用新精神作舊體詩",都體現(xiàn)了"變"與"復(fù)"的思維與精神。這對(duì)當(dāng)下詩歌之路的探索,具有借鑒意義。
[Abstract]:The ancients said: "Poems do not change beyond the complex." To change the state into the past, and to repeat the old. " The history of modern poetics is not only the rise and fall of "change" and "complex", but also the alternation of "change" and "disadvantage". It is helpful for us to clearly understand and grasp the history of recent ancient poetics and get some useful inspiration from it. The three generations of Yuan, Ming and Qing dynasties showed different thinking characteristics on this issue. The Song Dynasty sought for new changes in the quasi-ancient times, and by the end of the Song Dynasty, poetry had already done a great deal of harm. The Yuan people advocated "two ancient and modern" to save the loss of Song people. The people of Ming Dynasty went to extremes of "complex" and "change", forming the opposition between "poetry will flourish" and "extremely changed", but "changing" and "complex" are both difficult thinking, and seeking a way out for poetry development in difficult situation is also unsuccessful. The Qing people punished the loss of the Ming people, abandoned the extreme thinking, thought that the change and the complex "two ways", moved to the "change" and "complex", and emphasized the "divine and clear", reached a new theoretical height. Modern poetics and modern poetics can also be regarded as the continuation of this discussion under the new situation. Whether it is "using the old style with new artistic conception" or "using the new spirit as the old style poem", it embodies the thinking and spirit of "change" and "complex". This is of great significance to the exploration of the way of current poetry.
【分類號(hào)】：I207.22

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 章亞昕;詩性精神與文化環(huán)境[J];山東文學(xué);1997年06期

2 李高華;;淺論寫意戲劇的詩性精神[J];中國(guó)戲劇;2007年11期

3 朱逸寧;;江南的文化地理界定及六朝詩性精神闡釋[J];江淮論壇;2006年02期

4 謝光前;;在江南工商文化中植入詩性精神——以江蘇無錫為例[J];無錫商業(yè)職業(yè)技術(shù)學(xué)院學(xué)報(bào);2009年04期

5 趙松元;;蘇軾的詩性精神與高邁特色——以《定風(fēng)波》為中心的審美解讀[J];名作欣賞;2012年31期

6 劉成紀(jì);;道禪語言觀與中國(guó)詩性精神之誕生[J];求是學(xué)刊;2009年06期

7 羅媈;莫順斌;;鳶飛戾天 魚躍于淵——論朱熹文學(xué)思想中的詩性精神[J];牡丹江教育學(xué)院學(xué)報(bào);2008年04期

8 王文廣;;淺析唐佛教造像藝術(shù)設(shè)計(jì)中的詩性精神[J];作家;2010年20期

9 楊定明;;新詩當(dāng)固守人文關(guān)懷之精神——對(duì)90年代新詩的反思[J];廣東技術(shù)師范學(xué)院學(xué)報(bào);2008年04期

10 孫其芬;;明清時(shí)期江南儒商及其詩性文化藝術(shù)活動(dòng)[J];江南大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2010年02期

相關(guān)重要報(bào)紙文章 前4條

1 馬建輝;貼近詩性精神的寫作[N];文藝報(bào);2012年

2 朱逸寧;超越功利的詩性精神[N];中國(guó)教育報(bào);2005年

3 宋濤 西泠印社理事 杭州市書法家協(xié)會(huì)常務(wù)副主席 杭州書法院院長(zhǎng);杭州書法的文化特質(zhì)與詩性精神[N];杭州日?qǐng)?bào);2013年

4 汪文學(xué) 貴州民族大學(xué)文學(xué)院院長(zhǎng);古代官員選拔高度重視文學(xué)素養(yǎng)[N];貴州民族報(bào);2012年

相關(guān)碩士學(xué)位論文 前1條

1 祝海英;俗世之上，虛無之下[D];山東師范大學(xué);2006年

，

本文編號(hào)：2152655