本文選題：日本漢詩(shī) + 漢詩(shī)��； 參考：《陜西師范大學(xué)》2012年碩士論文

【摘要】：“風(fēng)雅”是中國(guó)詩(shī)論的核心觀念之一,自《詩(shī)經(jīng)》以后,中國(guó)文人在創(chuàng)作或評(píng)析詩(shī)歌的時(shí)候,幾乎都有意或無(wú)意的遵守這一標(biāo)準(zhǔn)。日本漢文學(xué)的產(chǎn)生,是受到了中國(guó)文學(xué)深遠(yuǎn)的影響,在日本的漢詩(shī)中,其“風(fēng)雅”觀也極大的承襲了中國(guó)詩(shī)歌的“風(fēng)雅”理念,但又具有了獨(dú)特的日本詩(shī)學(xué)品質(zhì),主要表現(xiàn)在以下幾點(diǎn)：其一是日本漢詩(shī)的個(gè)人傾向；其二是委婉含蓄以及清新自然地審美傾向；其三是日本社會(huì)對(duì)漢詩(shī)漢文的追捧和崇尚；其四表現(xiàn)在日本漢詩(shī)文學(xué)對(duì)政治性的超越。 正文可分為五部分： 第一部分：對(duì)日本漢詩(shī)的起源和歷史劃分進(jìn)行了宏觀的論述。認(rèn)為日本漢詩(shī)起源于大和時(shí)代后期,以《懷風(fēng)藻》中大友皇子所作《侍宴》和《述懷》為日本漢詩(shī)的濫觴。歷史分期可分為四個(gè)時(shí)期：即王朝時(shí)期(646—1192)、五山時(shí)期(1191—1602)、江戶時(shí)期(1603—1868)和明治以后(1868年后) 第二部分：主要探討了日本漢詩(shī)中的“風(fēng)雅”內(nèi)涵,并兼及中日“風(fēng)雅”觀的異同。主要從以下幾個(gè)方面進(jìn)行論述：一是日本漢詩(shī)的個(gè)人傾向,二是日本漢詩(shī)的審美傾向,三是日本社會(huì)對(duì)漢詩(shī)文的崇尚,四是日本漢詩(shī)對(duì)文學(xué)政治性的超越。 第三部分：主要論述了日本漢詩(shī)史上四個(gè)時(shí)期創(chuàng)作主體及其意識(shí)形態(tài)的變化情況,以此來(lái)說(shuō)明日本風(fēng)雅觀流變的內(nèi)在根源。認(rèn)為王朝時(shí)期創(chuàng)作主體以國(guó)家統(tǒng)治階級(jí)為主,其漢詩(shī)創(chuàng)作意識(shí)正是國(guó)家意志的表現(xiàn)；五山時(shí)期創(chuàng)作主體以五山禪僧為主,漢詩(shī)創(chuàng)作意識(shí)在延續(xù)王朝時(shí)期的同時(shí)轉(zhuǎn)向了禪宗,并以學(xué)習(xí)和創(chuàng)作漢詩(shī)為尚；江戶時(shí)期創(chuàng)作主體開(kāi)始轉(zhuǎn)向民間,他們大多具有良好的文化教養(yǎng)和儒學(xué)修養(yǎng),其創(chuàng)作意識(shí)崇尚宋明儒學(xué)；明治以后日本漢詩(shī)創(chuàng)作開(kāi)始衰微。 第四部分：在日本漢詩(shī)和漢字的關(guān)系基礎(chǔ)上,通過(guò)對(duì)日本漢詩(shī)個(gè)案研究,即以菅原道真對(duì)白居易諷喻詩(shī)的接受和日本漢詩(shī)對(duì)王維詩(shī)歌中幽玄觀的受容,來(lái)探討日本作家作品對(duì)中國(guó)作家作品的受容。 第五部分：主要對(duì)日本漢詩(shī)在日本社會(huì)的存在方式進(jìn)行考察。分為兩個(gè)小節(jié),第一小節(jié)對(duì)日本漢詩(shī)與日本文學(xué)的關(guān)系進(jìn)行了論述,認(rèn)為日本漢詩(shī)已經(jīng)成為日本文學(xué)不可或缺的一部分；第二小節(jié)對(duì)日本作家作品與漢詩(shī)的關(guān)系進(jìn)行了論述,認(rèn)為在日本社會(huì)中,漢詩(shī)本身已經(jīng)成為了風(fēng)雅的代名詞。
[Abstract]:"elegance" is one of the core concepts of Chinese poetry theory. Since the Book of songs, almost all Chinese scholars have observed this standard intentionally or unintentionally when they write or comment on poetry. The emergence of Japanese Chinese literature was deeply influenced by Chinese literature. In Japanese Chinese poetry, its view of "elegance" inherited the idea of "elegance" in Chinese poetry, but it also had a unique Japanese poetics quality. The main manifestations are as follows: first, the personal tendency of Japanese Chinese poetry; second, euphemism, implication and fresh and natural aesthetic tendency; third, Japanese society's pursuit and worship of Chinese poetry; The fourth is the transcendence of Japanese Chinese poetry to politics. The text can be divided into five parts: the first part: the origin and historical division of Japanese Chinese poetry are discussed macroscopically. It is believed that Japanese Chinese poetry originated in the late period of Daiwa era, and originated from Japanese Chinese poetry with the works of "Shi Banquet" and "Huai Huai" by the Emperor of the Emperor Dae-fengzao in "Huaifengzao" and "Shuhuai". The historical period can be divided into four periods: the dynasty period (646-1192), the Wushan period (1191-1602), the Edo period (1603-1868) and the Meiji period (after 1868). At the same time, the similarities and differences between Chinese and Japanese "elegant" view. This paper mainly discusses the following aspects: first, the personal tendency of Japanese Chinese poetry; second, the aesthetic tendency of Japanese Chinese poetry; third, the Japanese society's respect for Han poetry and prose; fourth, the Japanese Chinese poetry's transcending the political nature of literature. The third part mainly discusses the creation subject and the change of ideology in the four periods in the history of Japanese Chinese poetry, so as to explain the internal root of the change of Japanese style and elegance. The author thinks that the main creative subject of the dynasty is the ruling class of the country, and its consciousness of Chinese poetry creation is just the expression of the national will, while the main creative subject of the five mountains period is the monk of the five mountains, and the consciousness of the creation of the Chinese poetry has turned to Zen at the same time as the continuation of the dynasty. In the Edo period, the main body of creation began to turn to the folk, most of them had good cultural upbringing and Confucianism cultivation, and their creative consciousness advocated Song Ming Confucianism. After Meiji, the creation of Japanese Chinese poetry began to decline. The fourth part: on the basis of the relationship between Japanese Chinese poetry and Chinese characters, through the case study of Japanese Chinese poetry, that is, the acceptance of Bai Juyi allegorical poetry by Naoto Kan and the tolerance of Japanese Chinese poetry to the metaphysical view of Wang Wei's poetry. To explore the acceptance of Japanese writers and works to Chinese writers and works. The fifth part: mainly carries on the inspection to the Japanese Chinese poetry in the Japanese society existence way. The first section discusses the relationship between Japanese Chinese poetry and Japanese literature, and holds that Japanese Chinese poetry has become an indispensable part of Japanese literature. It is believed that in Japanese society, Chinese poetry itself has become synonymous with elegance.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I313.072

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本文編號(hào)：2098850