發(fā)布時(shí)間：2018-11-05 20:27

【摘要】：袁枚是性靈理論的集大成者。他是清代中葉最富有個(gè)性和才情的文學(xué)家,詩居“乾嘉三大家”之首。他和他的“性靈說”風(fēng)靡一時(shí),實(shí)際上奪了當(dāng)時(shí)詩壇正宗“格調(diào)”派及“神韻”派的席位。他的以關(guān)注人的存在與人的個(gè)性為特征的文學(xué)創(chuàng)作和文學(xué)理論,具有一種歷史的進(jìn)步意義。 本文主要從美學(xué)的角度切入,以通讀袁枚原著為基礎(chǔ),用社會歷史的方法對其性靈說進(jìn)行整體觀照。本文分引言、四章和結(jié)語六部分。第一章首先考察了袁枚“性靈說”美學(xué)思想形成的歷史淵源和理論淵源,從政治、經(jīng)濟(jì)、文化三個(gè)方面論述了“性靈說”產(chǎn)生的時(shí)代背景以及“性靈”的語義思想;文章第二、三、四章闡釋了其“性靈說”的內(nèi)涵:真情論、個(gè)性論和詩才論,“性靈說”內(nèi)涵的核心因素就是強(qiáng)調(diào)性情,特別是真情,袁枚認(rèn)為詩歌創(chuàng)作的根本就是表現(xiàn)性情,詩人之情不但要真,還要有個(gè)性,袁枚身上充溢著鮮明強(qiáng)烈的個(gè)性主義色彩,其個(gè)性論在創(chuàng)作上的體現(xiàn)就是要求“著我”,同時(shí),袁枚又認(rèn)為,并不是詩人有真情、有個(gè)性就可以進(jìn)行寫作,他還必須具備表現(xiàn)性靈的詩才,能自然有如“天籟”地描寫出富于生氣的形象,以生動(dòng)地抒寫性靈;文章最后在結(jié)語部分評述了其思想的價(jià)值意義和影響,袁枚的詩歌創(chuàng)作和理論,以普通人和平凡生活作為審美對象,表現(xiàn)了一種以人性美為核心的世俗、市井的美,它代表著一種新的美學(xué)觀念和追求。本文力圖對袁枚的思想進(jìn)行多視角、多層次的深入探討,盡量作出符合實(shí)際并體現(xiàn)當(dāng)代特征的闡釋和評論。袁枚的美學(xué)思想,至今仍然閃爍著理論的光芒,照耀著我們今天研究美學(xué)、關(guān)注現(xiàn)實(shí)的腳步。
[Abstract]:Yuan Mei is the master of the spirit theory. He was the most individual and talented writer in the middle of Qing Dynasty. He and his "spirit theory" were all the rage, which actually took the seats of "style" and "verve" in the poetic world at that time. His literary creation and literary theory, characterized by concern for the existence and individuality of human beings, have a historical and progressive significance. This article mainly from the angle of aesthetics, read Yuan Mei's original works as the basis, with the method of social history of the overall view of the spirit of his theory. This article is divided into the introduction, four chapters and the conclusion six parts. The first chapter investigates the historical origin and theoretical origin of Yuan Mei's aesthetic thought of "the spirit of nature", and discusses the background of the generation of "the theory of the spirit of nature" and the semantic thought of "the spirit of nature" from three aspects: politics, economy and culture. The second, third, and fourth chapters explain the connotation of his "spirit of nature": truth theory, personality theory and poetic talent theory. The core factor of the connotation of "spirit theory" is to emphasize temperament, especially truth. Yuan Mei thinks that the essence of poetry creation is to express temperament. The poet's feeling is not only true, but also individual. Yuan Mei is filled with distinct and strong individualism, and his personality theory is embodied in his creation by asking for "I". At the same time, Yuan Mei thinks that it is not the poet who has true feelings. If he has personality, he can write, he must also have the ability to express the spirit of poetry, can naturally describe the vivid image as "music of nature", in order to vividly express the spirit; In the last part of the article, the author comments on the value and influence of his thoughts, Yuan Mei's poetry creation and theory, taking ordinary people and ordinary life as aesthetic objects, showing a kind of secular beauty with the core of human nature and the beauty of the market. It represents a new aesthetic concept and pursuit. This paper tries to explore Yuan Mei's thoughts from different angles and levels, and try his best to make explanations and comments that accord with the reality and reflect the contemporary characteristics. Yuan Mei's aesthetic thought is still shining with the light of theory, which illuminates our research on aesthetics today and pays close attention to reality.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：I01

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 楊晶;公安派“性靈說”的內(nèi)容及美學(xué)特征[D];延邊大學(xué);2011年

2 杜興武;晚明文言小說研究[D];湖南師范大學(xué);2012年

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本文編號：2313354