【摘要】：本文可視為對歲時賦發(fā)展史的斷代研究。歲時賦孕育于先秦,形成于兩漢,于魏晉時期走向成熟并逐漸興盛起來。因此,截取這一階段的歲時賦發(fā)展史進行研究對于我們探尋歲時賦的早期形態(tài)和發(fā)展軌跡最具參考價值。本文分為四章。第一章探討歲時賦在魏晉時期走向興盛的原因,主要從當時的社會環(huán)境入手:第一,個體生命意識覺醒,人們對于節(jié)物遷逝變得格外敏感;第二,自然審美意識趨于成熟,人們開始以欣賞的眼光眺望四季景色;第三,節(jié)日體系日益完善,節(jié)日風俗生活化、娛樂化;第四,文學走向自覺,作家的創(chuàng)作熱情和文學水平空前提高,同題創(chuàng)作之風盛行。辭賦是魏晉時期最流行的文體之一,作家表現(xiàn)節(jié)物遷逝之感,描摹四季景色之美,記述節(jié)日風俗,進行同題共作皆以賦為主要載體,歲時賦因而得以盛行。第二章討論三國時期的歲時賦。鄴下文人集團的同題共作活動是本時期歲時賦創(chuàng)作的主要動力,曹植等人的同題《大暑賦》是其主要成果。大暑賦或以夸張的、概括性的語言,或以細節(jié)性的生活場景來表現(xiàn)暑熱。盡管模式化傾向比較嚴重,這些作品仍留下了亂世特有的歷史痕跡。生命易逝而功業(yè)難成是建安文人普遍面臨的人生難題。曹植、繁欽的春、秋賦皆以此為主題,因而形成了慷慨悲壯的獨特風格,與其他時代的春、秋賦絕不相同。王沈《正會賦》創(chuàng)作于建安文學與正始文學的交替階段,并使得正會慶典成為獨立的辭賦題材,在歲時賦發(fā)展史上也具有一定的積極意義。第三章對兩晉歲時賦主要的題材內(nèi)容進行了分類概述�！办痨薄按骸薄扒铩笔潜緯r期歲時賦最主要的表現(xiàn)領(lǐng)域。兩晉時期上巳節(jié)娛樂性質(zhì)進一步增強,祓禊詩、賦隨之發(fā)展壯大。由于以寫景狀物見長的文體特征,辭賦在描寫祓禊風俗方面有著不可替代的藝術(shù)魅力與文獻價值。相較于三國時期,兩晉春、秋賦數(shù)量大大提升,但除夏侯湛、潘岳等少數(shù)作家的作品外,大多數(shù)賦作在情感表達和藝術(shù)形式兩方面均具有嚴重的模式化傾向。除以上三大題材外,兩晉歲時賦尚涉及到祖、蠟、正會等節(jié)日風俗,寒、暑、冬、夏等自然節(jié)候。這些賦作各具特色,共同構(gòu)建起兩晉文學中豐富多彩的歲時世界。第四章主要論述了在歲時賦發(fā)展史上具有重要意義的兩晉作家。傅玄、嵇含對歲時賦的題材內(nèi)容進行了開拓創(chuàng)新,創(chuàng)作極具個性。夏侯湛是本時期歲時賦存世最多的作家,其春、秋賦在藝術(shù)形式上也獨樹一幟;潘岳雖僅有一篇《秋興賦》傳世,卻憑借其高超的藝術(shù)水平對后世產(chǎn)生了深遠影響。陸機、陸云詠冬賦中的感時傷逝之嘆代表了魏晉時期流行的情感基調(diào);思親懷土之悲則是作家個體身世的真切反映,因而更具打動人心的藝術(shù)力量。
[Abstract]:This paper can be regarded as a dating study on the development history of Fu at the age of age. Fu was born in the pre-Qin Dynasty, formed in the Han Dynasty, matured and flourished gradually in the Wei and Jin dynasties. Therefore, the study of the development history of the age Fu at this stage is of the most referential value for us to explore the early form and development track of the age Fu. This paper is divided into four chapters. The first chapter discusses the reasons for the prosperity of Fu in the Wei and Jin dynasties, mainly from the social environment at that time: first, the awakening of individual life consciousness, people become particularly sensitive to the passing of things; Second, the natural aesthetic awareness tends to mature, people began to look at the four seasons with the eyes of appreciation; third, the festival system is increasingly perfect, holiday customs, entertainment; Fourth, literature tends to self-consciousness, the writer's creative enthusiasm and literary level are improved unprecedented, and the style of writing on the same topic prevails. Ci Fu is one of the most popular styles in the Wei and Jin dynasties. The writer shows the sense of passing away, describes the beauty of the scenery in four seasons, describes the festival customs, takes Fu as the main carrier in the same work, and thus becomes popular at the age of age. The second chapter discusses the age Fu of the three Kingdoms period. The co-authoring activities of Ye Xia literati group were the main motive force of Fu creation at the age of this period, and Cao Zhi and others'"Fu of Greater Heat" was the main achievement. The summer heat is expressed either in exaggerated, general language, or in detailed scenes of life. Although the stereotype tendency is serious, these works still leave the peculiar historical trace of the chaotic times. Life is fleeting and success is difficult for Jian'an literati to face. Cao Zhi, the Spring and Autumn Fu of Fangqin, all take this as the theme, thus forming a unique style of generosity and tragedy, which is not the same as the Spring and Autumn Fu of other times. Wang Shen's "Fu of Zhenghui" was created in the alternating stage of Jian'an literature and original literature, and made the celebration of Zhenghui become an independent subject of ci Fu, which also had a certain positive significance in the history of Fu development at the age of age. The third chapter summarizes the main themes of Fu in the two Jin dynasties. "Fu", "Spring" and "Autumn" are the main areas of expression of Fu at the age of this period. During the period of the two Jin dynasties, the entertainment nature of Shangsi Festival was further strengthened, and the Fu developed with the development of the poem. As a result of the stylistic characteristics of "scenery", ci Fu has irreplaceable artistic charm and literature value in describing the social customs. Compared with the period of the three Kingdoms, the number of Fu was greatly increased in the two Jin and Spring dynasties. However, in addition to the works of a few writers such as Xia Hou Zhan, Pan Yue and so on, most of the works had a serious tendency of stereotyping in both emotional expression and artistic form. In addition to the above three themes, two Jin years of age Fu still involves ancestor, wax, formal meeting and other holiday customs, cold, summer, winter, summer and other natural festivals. These works have their own characteristics, together to construct the rich and colorful age of the world in the literature of the two Jin dynasties. The fourth chapter mainly discusses the two Jin writers with great significance in the development history of Fu at the age of age. Fu Xuan, Ji Han on the theme of Fu at the age of innovation, creative personality. Xia Hou Zhan was the writer who lived most in this period, and his spring and autumn Fu were unique in art form. Although Pan Yue had only one "Qiuxing Fu" handed down, he had a profound influence on the later generations by virtue of his superb artistic level. Lu Ji and Lu Yunyong's sighing of feeling of time and injury and death represent the popular emotional tone in Wei and Jin dynasties, while thinking about the sadness of the earth is the true reflection of the writer's individual life and therefore has more artistic power to impress the hearts of the people.
【學位授予單位】：山東師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.22

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本文編號：2461960