發(fā)布時(shí)間：2018-05-19 02:12

  本文選題：云間詞派 + 宋徵輿��； 參考：《遼寧大學(xué)》2017年碩士論文

【摘要】：龍榆生先生說(shuō)“詞學(xué)衰于明代,至子龍出,宗風(fēng)大振,遂開三百年來(lái)詞學(xué)中興之盛”,要探尋清初詞風(fēng)嬗變的脈絡(luò),重點(diǎn)應(yīng)放在對(duì)以陳子龍為首的云間詞派的考查上。宋徵輿詞在云間詞派中的地位和影響同樣不可忽視,是清初詞風(fēng)嬗變的重要一環(huán),也擁有較高的藝術(shù)成就,因此,我們有必要在研究云間詞派的基礎(chǔ)上對(duì)宋徵輿詞進(jìn)行深入研究,這同時(shí)也有助于我們對(duì)云間詞派有一個(gè)更透徹的把握。全文共分六個(gè)部分:首先,緒論部分對(duì)已有的宋征輿詞研究成果進(jìn)行梳理,凸顯本文的研究動(dòng)機(jī)和研究方向。第一部分簡(jiǎn)單介紹宋徵輿生平及其詞作收錄情況,并分析論證其“鳳想樓”詞是由宋徵輿自己按照時(shí)序進(jìn)行編排,且在創(chuàng)作時(shí)間上跨越六個(gè)年頭,起于崇禎六年(1633)秋,止于崇禎十一年(1638)春。其《海閭倡和香詞》是由吳偉業(yè)編選入《倡和詩(shī)馀》,按照詞調(diào)長(zhǎng)短進(jìn)行編排,且應(yīng)作于順治四年(1647)春季之后。第二部分先從《幽蘭草題詞》《倡和詩(shī)馀序》《支機(jī)集凡例》等理論文獻(xiàn)中分析云間詞派詞學(xué)主張的變化趨勢(shì),再?gòu)乃吾巛洝短扑卧~選序》及其具體作品中窺探宋徵輿個(gè)人的詞學(xué)主張,以此來(lái)看宋徵輿個(gè)人的詞學(xué)主張和具體實(shí)踐在云間詞派詞學(xué)主張發(fā)展變化中的作用和影響。第三部分總結(jié)分析宋徵輿詞的題材。其“鳳想樓”詞在內(nèi)容上大體不出花間、南唐,可以分為抒懷之作和詠物之作。大部分作品閨閣氣很濃,但又間有沉郁頓挫之作,其《海閭倡和香詞》在內(nèi)容上更加狹窄,具有明顯的倡和特點(diǎn),但又表現(xiàn)出了一絲平淡和灑脫。第四部分從“傳奇的筆法”、“構(gòu)思的精巧”、“用韻的規(guī)范”三方面分析宋徵輿詞的創(chuàng)作技法,并且其“鳳想樓”詞晚于《海閭倡和香詞》大約十年,在這十年間,宋徵輿的作詞技法有了一個(gè)明顯的提升,可以通過(guò)這兩部詞集反映出來(lái)。第五部分論述宋徵輿詞在云間詞派中“溯源導(dǎo)流”的地位,及其在云間詞派發(fā)展過(guò)程中承上啟下的作用。綜上,本文先對(duì)宋徵輿詞的收錄、編輯、作年情況進(jìn)行梳理,然后從理論和實(shí)踐兩個(gè)方面探討宋徵輿的詞學(xué)主張,再綜合分析宋徵輿詞的內(nèi)容和藝術(shù),最后總結(jié)宋徵輿詞在云間詞派中的地位和影響。
[Abstract]:Long Yusheng said that "ci studies declined in the Ming Dynasty, until Zilong came out, and Zongfeng was greatly inspired, and then opened the flourishing of ci studies in the past 300 years." in order to explore the evolution of ci style in the early Qing Dynasty, the emphasis should be placed on the examination of the Yunjian-ci school headed by Chen Zilong. The position and influence of Song Zhengyu ci in the Yunjian ci school can not be ignored. It is an important link in the evolution of ci style in the early Qing Dynasty, and it also has higher artistic achievements. It is necessary for us to study Song Zhengyu's ci on the basis of studying Yunjian ci School, which is helpful for us to have a more thorough understanding of Yunjian ci School at the same time. The full text is divided into six parts: first, the introduction of the existing research results of Song Zhengyu to highlight the research motivation and research direction. The first part briefly introduces Song Zhengyu's life and ci collection, and analyzes and proves that Song Zhengyu's "Feng Xiang Lou" is arranged according to the time sequence, and it spans six years in the writing time, starting from Chong Zhen's six years and 1633) autumn. The spring ended in 1638 in 11 years of Chongzhen. Hailu's poems of advocating and fragrant were compiled by Wu Weiye and arranged according to the length of ci and should be made after the spring of Shunzhi (1647). The second part first analyzes the change trend of Yunjian ci school's propositions from the theoretical literature, such as "the inscription of pyloric grass", "the preface to the poem", "Zhi Qi Ji", and so on. From Song Zhengyu's ci selection of Tang Dynasty and Song Dynasty and his specific works, this paper explores Song Zhengyu's personal propositions of ci poetry, and then discusses the function and influence of Song Zhengyu's personal propositions and practices in the development and change of Yunjian ci School's propositions. The third part summarizes and analyzes the theme of Song Zhengyu's ci. Its "Fengxianlou" in the content of the main content of the flower, the Southern Tang Dynasty, can be divided into express works and works of chanting things. Most of the works are full of boudoir, but there are melancholy works between them. Its "Hailu and Xiang ci" is narrower in content and has obvious advocacy and characteristics, but it also shows a touch of plain and free and easy. The fourth part analyzes the creative techniques of Song Zhengyu's ci from the three aspects of "legendary strokes", "ingenuity of conception" and "norms of rhyme", and its "Feng Xianglou" ci is about ten years later than "Hailu's advocating and fragrant ci". Song Zhengyu's ci-writing technique has an obvious improvement, which can be reflected through these two ci-sets. The fifth part discusses the position of Song Zhengyu ci in the Yunjian ci School, and its role in the development of Yunjian ci School. To sum up, this paper first combs the collection, editing and making of Song Zhengyu's ci words, then discusses Song Zhengyu's propositions of ci poetry from two aspects of theory and practice, and then synthetically analyzes the content and art of Song Zhengyu's ci. Finally, it summarizes the position and influence of Song Zhengyu ci in Yunjian ci School.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.23

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