【摘要】：日本江戶后期至明治初期的漢詩壇上曾興起過一股艷詩創(chuàng)作的風潮,其中澤井鶴汀的《吟香集》是頗具代表性的一部著作,該集收錄了其早年的艷詩,然而鶴汀后來詩風的轉(zhuǎn)變又使得他對這些詩作及其自身形象表現(xiàn)出了否定的態(tài)度,使得《吟香集》呈現(xiàn)出一種復雜的意義指向。然而,伴隨著艷詩創(chuàng)作之風的進一步興盛,鶴汀作為艷體詩人的形象已完全確立,甚至還被視為了明治前期詩壇領(lǐng)袖森春濤的引導者,從這個意義上來說,其在江戶明治詩風演變背景下的詩人形象及其地位乃是人們期待及闡釋的結(jié)果。
[Abstract]:From the late Edo period to the early Meiji period, there has been a surge in the creation of Yan poetry in the Han poetry world in Japan. Among them, Takei Heting's "Yin Xiang Collection" is a representative work, which contains his early poems. However, the later transformation of his poetic style made him take a negative attitude towards these poems and their own images, which made the Collection of Yin Xiang take on a complicated meaning direction. However, with the further prosperity of the style of Yan poem creation, he Ting's image as a brilliant poet has been fully established and even regarded as the guide of the leader of the early Meiji poetry circle, Sen Chun-tao. In this sense, The poet's image and status under the background of the evolution of Edo Meiji poetic style are the result of people's expectation and interpretation.
【作者單位】： 浙江財經(jīng)大學人文與傳播學院;上海師范大學人文與傳播學院;
【基金】：國家社科基金重點項目《東亞漢詩史初編》,項目編號:14AZW007 中國博士后科學基金《好色與“好色”之間——日本江戶;明治時期艷詩研究》,項目編號:2016M591587
【分類號】：I313.072
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本文編號：2119585