劉熙載與王國(guó)維詞論比較研究
發(fā)布時(shí)間：2018-08-24 16:28
【摘要】：劉熙載與王國(guó)維皆是中國(guó)文學(xué)史上著名的文學(xué)理論家。近年來(lái),關(guān)于劉熙載與王國(guó)維文學(xué)理論思想的比較研究,已成為學(xué)界關(guān)注的焦點(diǎn),但卻尚未形成公論。本文以劉熙載《藝概·詞概》與王國(guó)維《人間詞話》為研究文本,試圖對(duì)劉熙載與王國(guó)維的詞學(xué)理論進(jìn)行比較研究,以說(shuō)明:王國(guó)維對(duì)劉熙載的詞學(xué)理論既有繼承,亦存在突破與創(chuàng)新。本文由緒論、正文、結(jié)語(yǔ)三部分組成。緒論部分主要簡(jiǎn)析近三十年國(guó)內(nèi)關(guān)于劉熙載與王國(guó)維詞論思想研究的現(xiàn)狀,并闡述了本課題的選題背景及研究意義。正文共分為四章,主要比較研究劉熙載與王國(guó)維的詞論。一、本體論研究。關(guān)于詞之本體,劉熙載與王國(guó)維的詞論思想,異同相間,主要體現(xiàn)在詞體論與詞史觀兩方面。其一,在詞體論上,首先,劉熙載與王國(guó)維皆“推尊詞體”,但論述方式迥異;其次,劉熙載與王國(guó)維皆認(rèn)為詞有“雅鄭”之別,但前者側(cè)重形式,后者注重內(nèi)容;其二,關(guān)于詞史,劉熙載以“正變”而論,客觀評(píng)論詞人、詞作,并認(rèn)為元好問(wèn)為“集兩宋之大成者”;王國(guó)維則以“始盛終衰”論之,尊北宋、五代,抑南宋。不過(guò),值得注意的是,關(guān)于某些重要詞人及詞作的評(píng)論,兩人的觀點(diǎn)又具有一致性。二、創(chuàng)作論研究。關(guān)于詞之創(chuàng)作,劉熙載與王國(guó)維的觀點(diǎn)小同大異,主要體現(xiàn)在創(chuàng)作主體與創(chuàng)作方法兩方面。其一,關(guān)于創(chuàng)作主體,首先,劉熙載與王國(guó)維認(rèn)為作品與作者密切相關(guān),劉熙載提出“有我在也”,王國(guó)維則分“有我”與“無(wú)我”;其次,劉熙載與王國(guó)維認(rèn)為“詞客”當(dāng)具“雅情”,但劉熙載從儒家道德觀出發(fā),偏重“正情”,王國(guó)維則堅(jiān)持“赤子之心”說(shuō),尤重“真情”;再次,劉熙載與王國(guó)維皆極為重視“詞客”的才能,但前者堅(jiān)持才氣與學(xué)識(shí)并重,而后者則偏重素養(yǎng),主張“天才”說(shuō)。其二,關(guān)于創(chuàng)作方法,首先,劉熙載與王國(guó)維認(rèn)為“詞眼”極其重要,但前者堅(jiān)持“神光所聚”,而后者主張“境界全出”;其次,劉熙載詳細(xì)論述了詞之章法、句法、字法、聲韻等,構(gòu)成一個(gè)嚴(yán)密的體系,但王國(guó)維則主要論述了“隔”和“不隔”以及“造境”與“寫(xiě)境”。不過(guò),值得注意的是,關(guān)于詞之用事,二人的主張卻相同。三、風(fēng)格論研究。關(guān)于詞之風(fēng)格,劉熙載與王國(guó)維的觀點(diǎn),同中有異,異中有同,主要體現(xiàn)在風(fēng)格分類(lèi)與風(fēng)格審美價(jià)值兩方面。其一,關(guān)于風(fēng)格類(lèi)型分類(lèi),劉熙載與王國(guó)維雖然主張兩分法,但前者劃分為“陽(yáng)剛”與“陰柔”,后者則分為“壯美”與“優(yōu)美”;其二,關(guān)于風(fēng)格審美價(jià)值,劉熙載與王國(guó)維雖都崇尚自然本色之作,但劉熙載標(biāo)舉的是“奇創(chuàng)”與“沉厚”,王國(guó)維則贊賞的是“灑落”與“悲壯”。四、批評(píng)論研究。關(guān)于詞之批評(píng),劉熙載與王國(guó)維的理論,大同小異,主要體現(xiàn)在批評(píng)標(biāo)準(zhǔn)與批評(píng)方法兩方面。其一,關(guān)于批評(píng)標(biāo)準(zhǔn),首先在思想標(biāo)準(zhǔn)上,劉熙載與王國(guó)維堅(jiān)持“文如其人”觀,認(rèn)為“詞品”與“人品”具有一致性;其次在藝術(shù)標(biāo)準(zhǔn)上,劉熙載傾向以“意趣”論詞,王國(guó)維則主張以“氣象”論之。其二,關(guān)于批評(píng)方法,劉熙載與王國(guó)維皆采用“摘句批評(píng)”、“詩(shī)詞互釋”,但劉熙載最具特色的批評(píng)方法是“辯證法”,王國(guó)維則具有“學(xué)兼中西”的特色。結(jié)語(yǔ)部分總結(jié)分析王國(guó)維詞學(xué)理論對(duì)劉熙載的繼承、突破與創(chuàng)新。
[Abstract]:Liu Xizai and Wang Guowei are both famous literary theorists in the history of Chinese literature. In recent years, the comparative study of Liu Xizai's and Wang Guowei's literary theories has become the focus of academic attention, but has not yet formed a consensus. Guowei's Ci theory is comparatively studied to illustrate that Wang Guowei inherited and innovated Liu Xizai's Ci theory. This paper consists of three parts: introduction, text and conclusion. The introduction mainly analyzes the current situation of the study on Liu Xizai's and Wang Guowei's Ci theory in China in the past 30 years, and expounds the topic of this topic. The main body is divided into four chapters, mainly comparative study of Liu Xizai and Wang Guowei's Ci theory. First, ontological study. On the ontology of Ci, the similarities and differences between Liu Xizai and Wang Guowei's Ci theory are mainly reflected in the two aspects of the theory of Ci style and the view of Ci history. Secondly, Liu Xizai and Wang Guowei both think that Ci is different from "Yazheng", but the former emphasizes form and the latter emphasizes content; secondly, regarding the history of Ci, Liu Xizai talks about "positive change", objectively comments on Ci poets and works, and thinks that Yuan Haowen is "the greatest success of the two Songs"; Wang Guowei talks about "the beginning of prosperity and the end of decline", respecting the north. The Song Dynasty, the Five Dynasties, and the Southern Song Dynasty. However, it is noteworthy that the opinions of some important poets and their works are consistent. Second, the study of the theory of creation. Liu Xizai and Wang Guowei believed that the work was closely related to the author. Liu Xizai put forward that "I am also there" and Wang Guowei divided "I" and "non-self"; secondly, Liu Xizai and Wang Guowei believed that "Ci Gu" should have "elegant feelings", but Liu Xizai started from the Confucian ethics, laying particular stress on "true feelings", and Wang Guowei insisted on "the heart of the naked son". Thirdly, Liu Xizai and Wang Guowei both attach great importance to the ability of "Ci-poets", but the former emphasizes both talent and knowledge, while the latter emphasizes accomplishment and advocates the theory of "genius". Secondly, Liu Xizai elaborated on the composition, syntax, character, phonology and so on of Ci, which constituted a strict system, but Wang Guowei mainly discussed the "separation" and "non-separation" as well as the "creation" and the "writing" of Ci. Liu Xizai and Wang Guowei's viewpoints are different from each other in style classification and aesthetic value of style. Although both Liu Xizai and Wang Guowei advocate the works of nature, Liu Xizai praises "extraordinary creation" and "sincerity", while Wang Guowei appreciates "sprinkling" and "tragic and stirring". Fourthly, the study of critical theory. On the criticism of Ci, the theories of Liu Xizai and Wang Guowei are much the same, mainly reflected in the criteria and methods of criticism. Firstly, on the criteria of criticism, Liu Xizai and Wang Guowei adhere to the concept of "literature as its human being" and hold that "Ci" and "human character" are consistent; secondly, on the artistic standards, Liu Xizai tends to use "interesting" and Wang Guowei advocates "meteorology". Wang Guowei adopts "excerpt criticism" and "mutual interpretation of poems and lyrics", but Liu Xizai's most distinctive criticism method is "dialectics", while Wang Guowei has the characteristics of "learning both Chinese and Western".
【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】：2015
【分類(lèi)號(hào)】：I207.23
本文編號(hào)：2201375
[Abstract]:Liu Xizai and Wang Guowei are both famous literary theorists in the history of Chinese literature. In recent years, the comparative study of Liu Xizai's and Wang Guowei's literary theories has become the focus of academic attention, but has not yet formed a consensus. Guowei's Ci theory is comparatively studied to illustrate that Wang Guowei inherited and innovated Liu Xizai's Ci theory. This paper consists of three parts: introduction, text and conclusion. The introduction mainly analyzes the current situation of the study on Liu Xizai's and Wang Guowei's Ci theory in China in the past 30 years, and expounds the topic of this topic. The main body is divided into four chapters, mainly comparative study of Liu Xizai and Wang Guowei's Ci theory. First, ontological study. On the ontology of Ci, the similarities and differences between Liu Xizai and Wang Guowei's Ci theory are mainly reflected in the two aspects of the theory of Ci style and the view of Ci history. Secondly, Liu Xizai and Wang Guowei both think that Ci is different from "Yazheng", but the former emphasizes form and the latter emphasizes content; secondly, regarding the history of Ci, Liu Xizai talks about "positive change", objectively comments on Ci poets and works, and thinks that Yuan Haowen is "the greatest success of the two Songs"; Wang Guowei talks about "the beginning of prosperity and the end of decline", respecting the north. The Song Dynasty, the Five Dynasties, and the Southern Song Dynasty. However, it is noteworthy that the opinions of some important poets and their works are consistent. Second, the study of the theory of creation. Liu Xizai and Wang Guowei believed that the work was closely related to the author. Liu Xizai put forward that "I am also there" and Wang Guowei divided "I" and "non-self"; secondly, Liu Xizai and Wang Guowei believed that "Ci Gu" should have "elegant feelings", but Liu Xizai started from the Confucian ethics, laying particular stress on "true feelings", and Wang Guowei insisted on "the heart of the naked son". Thirdly, Liu Xizai and Wang Guowei both attach great importance to the ability of "Ci-poets", but the former emphasizes both talent and knowledge, while the latter emphasizes accomplishment and advocates the theory of "genius". Secondly, Liu Xizai elaborated on the composition, syntax, character, phonology and so on of Ci, which constituted a strict system, but Wang Guowei mainly discussed the "separation" and "non-separation" as well as the "creation" and the "writing" of Ci. Liu Xizai and Wang Guowei's viewpoints are different from each other in style classification and aesthetic value of style. Although both Liu Xizai and Wang Guowei advocate the works of nature, Liu Xizai praises "extraordinary creation" and "sincerity", while Wang Guowei appreciates "sprinkling" and "tragic and stirring". Fourthly, the study of critical theory. On the criticism of Ci, the theories of Liu Xizai and Wang Guowei are much the same, mainly reflected in the criteria and methods of criticism. Firstly, on the criteria of criticism, Liu Xizai and Wang Guowei adhere to the concept of "literature as its human being" and hold that "Ci" and "human character" are consistent; secondly, on the artistic standards, Liu Xizai tends to use "interesting" and Wang Guowei advocates "meteorology". Wang Guowei adopts "excerpt criticism" and "mutual interpretation of poems and lyrics", but Liu Xizai's most distinctive criticism method is "dialectics", while Wang Guowei has the characteristics of "learning both Chinese and Western".
【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】：2015
【分類(lèi)號(hào)】：I207.23
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 王圼星;;立‘縱'尊‘橫'與陰陽(yáng)正變——?jiǎng)⑽踺d詞體正變觀研究[J];詞學(xué);2013年01期
2 王海濤;;《人間詞話》經(jīng)典化歷程反思——兼論文學(xué)經(jīng)典的生成機(jī)制及生存境遇[J];南陽(yáng)師范學(xué)院學(xué)報(bào);2013年01期
3 李慶;;劉熙載詞論溯源[J];科教導(dǎo)刊(中旬刊);2010年09期
4 沈文凡;張德恒;;王國(guó)維《人間詞話》百年研究史綜論[J];中外文化與文論;2010年01期
5 歐陽(yáng)文風(fēng);;王國(guó)維“隔”與“不隔”理論的感悟特質(zhì)——感悟詩(shī)學(xué)現(xiàn)代轉(zhuǎn)型系列論文之一[J];中國(guó)中外文藝?yán)碚搶W(xué)會(huì)年刊;2008年00期
6 吳振華;;從劉熙載到王國(guó)維[J];文藝?yán)碚撗芯?2007年02期
7 鄭國(guó)岱;劉熙載、王國(guó)維論詞中情[J];西華師范大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2004年06期
8 徐林祥;臺(tái)灣香港劉熙載文藝美學(xué)思想研究述評(píng)[J];學(xué)術(shù)研究;2003年01期
9 陳水云;劉熙載的詞品說(shuō)及其生成的學(xué)術(shù)背景[J];鄂州大學(xué)學(xué)報(bào);2002年01期
10 陳伯海;生命體驗(yàn)的審美超越──《人間詞話》“出入”說(shuō)索解[J];文藝?yán)碚撗芯?2002年01期
相關(guān)碩士學(xué)位論文 前4條
1 廖希為;劉熙載文藝思想在晚清的傳播與接受研究[D];湖北民族學(xué)院;2014年
2 亓貞;文學(xué)活動(dòng)視域下的王國(guó)維境界說(shuō)研究[D];濟(jì)南大學(xué);2013年
3 曹靜;劉熙載研究[D];浙江大學(xué);2008年
4 高青;《人間詞話》與《蕙風(fēng)詞話》比較[D];山東師范大學(xué);2005年
，本文編號(hào)：2201375
本文鏈接：http://sikaile.net/wenyilunwen/hanyuyanwenxuelunwen/2201375.html
