本文關(guān)鍵詞：日本江戶時(shí)期詩話中的唐宋詩之爭研究　出處：《華東師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 江戶時(shí)期 詩話 唐宋詩之爭 宗唐派 宗宋派

【摘要】：日本江戶時(shí)期的"唐宋詩之爭"既是日本文學(xué)批評史的一部分,也是中日文化交流史的一部分。它不僅反映了中國文化對域外文化的影響力,也反映了日本社會對外來文化的接受、思考與轉(zhuǎn)變的一個(gè)過程。本文以日本江戶時(shí)期詩話為切入點(diǎn),結(jié)合當(dāng)時(shí)日本的政治、經(jīng)濟(jì)、文化以及中日關(guān)系等情況,探析日本江戶詩壇"唐宋詩之爭"興起的原因、所推重的理論和詩人以及由此產(chǎn)生的弊端。同時(shí),通過分析日本詩壇對中國詩論的接受和發(fā)展以及宗唐、宗宋二派之間的相互影響,發(fā)掘日本江戶詩壇"主情"的審美傾向,突顯日本文化的本土性特征,以期為中日兩國文化交流、發(fā)展以及日本文化本土性特征的研究提供一個(gè)獨(dú)特的視角。本文第一章以江戶前中期宗唐派為考察對象,結(jié)合當(dāng)時(shí)中日關(guān)系、社會經(jīng)濟(jì)等情況探討其興起的原因,以補(bǔ)前人研究的不足之處。這一時(shí)期詩壇以明代復(fù)古派的"格調(diào)說"為核心思想,推重盛唐詩以及明詩,強(qiáng)調(diào)詩的情感表達(dá)功能和"余韻"。宗唐派推崇盛唐詩人李白、杜甫,但與明復(fù)古派相同,無法解決杜甫與盛唐詩"異調(diào)"的事實(shí),在理論上不免存在漏洞。第二章以江戶中后期宗宋派為考察對象,江戶中后期宗宋派從杜詩與盛唐詩異調(diào)處入手,將其推重的中晚唐以后詩人與杜甫并列,打破專以盛唐為尊的局面。宗宋派對"格調(diào)說"的批駁和繼承,加深了當(dāng)時(shí)詩人對于詩歌的理解,由最初的以時(shí)代區(qū)別唐宋轉(zhuǎn)為以風(fēng)格、內(nèi)容區(qū)別唐宋。第三章首先從對詩人的評價(jià)、詩話內(nèi)容等方面對二派進(jìn)行比較研究,探討二派之間的相互影響和相互聯(lián)系;其次通過分析日本江戶詩壇對黃庭堅(jiān)及江西詩派拒斥情況及其形成的原因,揭示江戶詩壇在詩歌審美上"主情"之偏向。最后從日本文化的本土性入手,探討江戶詩壇這種審美偏向形成之深層原因。
[Abstract]:The "dispute of Tang and Song Poetry" in Edo period is not only a part of the history of Japanese literary criticism, but also a part of the history of Sino-Japanese cultural exchange, which not only reflects the influence of Chinese culture on foreign culture. It also reflects the process of acceptance, thinking and transformation of foreign culture in Japanese society. This paper takes Japanese Edo poetry as the starting point and combines the political, economic, cultural and Sino-Japanese relations of that time. This paper probes into the reasons for the rise of "the dispute of Tang and Song Poetry" in Edo's poetry circle in Japan, the theory and the poets and the drawbacks arising therefrom. At the same time, through the analysis of the acceptance and development of Chinese poetry theory in Japanese poetry circles and the Tang Dynasty. The mutual influence between the two schools of Zong and Song Dynasty explored the aesthetic tendency of "the main emotion" in the Japanese Edo poetry world, and highlighted the native characteristics of the Japanese culture in order to promote the cultural exchange between China and Japan. The development of Japanese culture and the study of the local characteristics of Japanese culture provides a unique perspective. The first chapter of this paper takes the Zong Tang School in the early and middle period of Edo as the object of investigation, combined with the relationship between China and Japan at that time. In order to make up for the shortcomings of previous studies, the poetic circles in this period focused on the "style theory" of the retro school in Ming Dynasty, and emphasized the poetry of the Tang Dynasty and the Ming Dynasty. It emphasizes the emotional expression function and "afterrhyme" of poetry. Zongtang school respected the poets Li Bai and du Fu in the prosperous Tang Dynasty, but it was the same as the retro school of the Ming Dynasty, and could not solve the fact that du Fu and the poetry of the prosperous Tang Dynasty were different from each other. In theory, there are some loopholes. The second chapter focuses on the Song School in the middle and late period of Edo, which starts with the differences between du poetry and the poem of the prosperous Tang Dynasty, and juxtaposes the poet and du Fu after the middle and late Tang Dynasty. The criticism and inheritance of the "style theory" of the Zong Song party deepened the poet's understanding of poetry at that time, and changed the style of the Tang and Song dynasties from the original distinction of the times to the style of the Tang and Song dynasties. The third chapter makes a comparative study of the two schools from the aspects of the evaluation of poets and the content of poetry, and probes into the mutual influence and relationship between the two schools. Secondly, through the analysis of the Japanese Edo poetry circle to Huang Tingjian and Jiangxi poetry school rejection and the formation of reasons, reveals the poetry of Edo poetry in the aesthetic "main feelings" bias. Finally, from the local nature of Japanese culture. This paper probes into the deep reasons for the formation of this aesthetic bias in Edo's poetry world.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I313.072
，

本文編號：1399498