嚴(yán)羽《滄浪詩(shī)話》“妙悟說(shuō)”及其審美價(jià)值
發(fā)布時(shí)間：2018-11-08 15:33
【摘要】：嚴(yán)羽的《滄浪詩(shī)話》涉及到了詩(shī)歌的根本問(wèn)題,即詩(shī)歌的本質(zhì)問(wèn)題,其中“妙悟說(shuō)”它代表了嚴(yán)羽對(duì)于詩(shī)歌的根本看法,因此被當(dāng)作《滄浪詩(shī)話》的核心理論�！懊钗蛘f(shuō)”的提出曾轟動(dòng)一時(shí),迄今為止也是詩(shī)歌理論界的重點(diǎn)研究對(duì)象,本文在綜合前人研究資料的基礎(chǔ)上,采用一些新的方法,對(duì)“妙悟說(shuō)”的審美內(nèi)涵和審美價(jià)值進(jìn)行研究。導(dǎo)論部分,結(jié)合嚴(yán)羽的生平談及他的人物性格和詩(shī)作風(fēng)格,他的詩(shī)歌理論著作《滄浪詩(shī)話》備受稱譽(yù),奠定了他在中國(guó)美學(xué)史上的地位。后世對(duì)《滄浪詩(shī)話》的學(xué)習(xí)和研究都很多,這部著作在我國(guó)開始為現(xiàn)代學(xué)者所關(guān)注發(fā)生在上個(gè)世紀(jì)初,國(guó)內(nèi)先后掀起三次嚴(yán)羽詩(shī)學(xué)研究的浪潮,并出版與此相關(guān)的著作和論文。盡管對(duì)“妙悟說(shuō)”審美內(nèi)涵的研究相對(duì)較少,但仍有以郭紹虞、錢鐘書、周來(lái)祥等人為代表的不同觀點(diǎn)。導(dǎo)論部分例舉了幾家代表觀點(diǎn),并提出問(wèn)題,針對(duì)這些問(wèn)題提出本文新的研究方法和思路。論文的第一章,意在發(fā)掘“妙悟說(shuō)”產(chǎn)生的思想背景,分別從歷史文化和《滄浪詩(shī)話》的文本中尋求其根源。從歷史文化的角度來(lái)看,首先,“妙悟說(shuō)”有其豐富的詞義基礎(chǔ)與發(fā)展過(guò)程,其次,“妙悟說(shuō)”的產(chǎn)生可以說(shuō)是文化間性的結(jié)果,它受到儒釋道三家思想合成的影響,帶有明顯的文化融合印記,它的審美內(nèi)涵體現(xiàn)了文化的“效果歷史”。從《滄浪詩(shī)話》的文本推測(cè)“妙悟說(shuō)”,它的立論基礎(chǔ)為“說(shuō)江西詩(shī)病”,理論動(dòng)因?yàn)椤耙远U喻詩(shī)”,審美理想為“師法盛唐之詩(shī)”。論文的第二章,旨在透過(guò)“妙悟說(shuō)”的結(jié)構(gòu)體系分析它的美學(xué)內(nèi)涵。首先,《滄浪詩(shī)話》中的又一核心理論——“興趣”被視為“妙悟說(shuō)”的本體,它體現(xiàn)了嚴(yán)羽詩(shī)歌理想的高級(jí)標(biāo)準(zhǔn)和審美追求;其次,悟,被看做“妙悟說(shuō)”的根本方法,作為一種獨(dú)特的藝術(shù)形式,悟與詩(shī)歌之間的聯(lián)系緊密;再次,境,被當(dāng)作“妙悟說(shuō)”最終所要達(dá)到的審美效果,境,分為實(shí)境與虛境,體現(xiàn)了“妙悟說(shuō)”的追求。論文的第三章,進(jìn)入到對(duì)于“妙悟說(shuō)”哲學(xué)基礎(chǔ)的分析,將“妙悟說(shuō)”的認(rèn)知邏輯與中國(guó)傳統(tǒng)文化的邏輯結(jié)構(gòu)、認(rèn)知方式進(jìn)行對(duì)照,得出儒釋道之間以及對(duì)“妙悟說(shuō)”形成的影響,并通過(guò)禪悟與詩(shī)悟之間的比較,說(shuō)明詩(shī)悟不等于禪悟的根本所在。論文的第四章,系統(tǒng)地梳理了“妙悟說(shuō)”對(duì)詩(shī)論的影響和在后來(lái)的繼續(xù)發(fā)展。從“妙悟說(shuō)”的時(shí)代反響出發(fā),分為對(duì)同時(shí)代的影響和對(duì)后來(lái)歷朝歷代的影響,另外,“妙悟說(shuō)”還在審美上對(duì)后來(lái)的理論起到了重要的建構(gòu)作用,為詩(shī)歌乃至其他藝術(shù)起到了重要的引領(lǐng)作用。
[Abstract]:Yan Yu's "Canglang's Poems" involves the fundamental problem of poetry, namely the essence of poetry, in which "Miao Wu" represents Yan Yu's fundamental views on poetry, so it is regarded as the core theory of "Canglang's Poems". The proposal of "Miao Wu Theory" has been a hit and has been the focus of research in the field of poetry theory up to now. On the basis of synthesizing the previous research materials, this paper adopts some new methods. The aesthetic connotation and aesthetic value of Miao Wu Theory are studied. In the introduction part, according to Yan Yu's life, his character and poetic style are discussed. His poetry theory works Canglang's Poems are highly acclaimed, which has established his position in the history of Chinese aesthetics. There are many studies and studies on Canglang Poems in later generations. This work began to attract the attention of modern scholars in our country. At the beginning of last century, there were three waves of research on Yan Yu's Poems in China, and related works and papers were published. Although the research on the aesthetic connotation of "Miao Wu Theory" is relatively few, there are still different views represented by Guo Shaoyu, Qian Zhongshu, Zhou Laixiang and so on. In the introduction part, several representative views are given, and some new research methods and ideas are put forward to solve these problems. The first chapter aims to explore the ideological background of "Miao Wu Theory" and seek its origin from the historical culture and the text of Canglang Poetry. From the point of view of history and culture, firstly, "Miao Wu Theory" has its rich word meaning foundation and development process, secondly, "Miao Wu Theory" can be said to be the result of interculturality, which is influenced by the combination of Confucianism, Buddhism and Taoism. It has obvious imprint of cultural fusion, and its aesthetic connotation embodies the "effect history" of culture. From the text of Canglang's Poems, it can be inferred that "Miao Wu's Theory" is based on "saying Jiangxi Poetry sickness", the theoretical movement is "using Zen as a metaphor for poetry", and the aesthetic ideal is "poem of the flourishing Tang Dynasty". The second chapter aims to analyze the aesthetic connotation of Miao Wu Theory through its structure system. First of all, another core theory in Canglang's Poems, "interest", is regarded as the Noumenon of "Miao Wu Theory", which embodies the high standard and aesthetic pursuit of Yan Yu's poetic ideal. Secondly, Wu, regarded as the fundamental method of "Miao Wu Theory", as a unique art form, is closely related to poetry. Thirdly, it is regarded as the aesthetic effect of "Miao Wu Theory", which is divided into reality and virtual state, which embodies the pursuit of "Miao Wu Theory". The third chapter analyzes the philosophical basis of "Miao Wu Theory", contrasts the cognitive logic of "Miao Wu Theory" with the logical structure and cognitive style of Chinese traditional culture. The influence of Confucianism, Buddhism and Taoism on the formation of "Miao Wu" is obtained, and the comparison between Zen enlightenment and poetic enlightenment shows that poetic enlightenment is not the root of Zen enlightenment. The fourth chapter systematically combs the influence of Miao Wu Theory on poetic theory and its further development. Starting from the epoch response of the "Miao Wu Theory", it is divided into the influence on the contemporary era and the influence on the later dynasties. In addition, the "Miao Wu Theory" also plays an important role in the construction of the later theories in the aesthetic sense. It plays an important leading role in poetry and even other arts.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.22
本文編號(hào)：2318902
[Abstract]:Yan Yu's "Canglang's Poems" involves the fundamental problem of poetry, namely the essence of poetry, in which "Miao Wu" represents Yan Yu's fundamental views on poetry, so it is regarded as the core theory of "Canglang's Poems". The proposal of "Miao Wu Theory" has been a hit and has been the focus of research in the field of poetry theory up to now. On the basis of synthesizing the previous research materials, this paper adopts some new methods. The aesthetic connotation and aesthetic value of Miao Wu Theory are studied. In the introduction part, according to Yan Yu's life, his character and poetic style are discussed. His poetry theory works Canglang's Poems are highly acclaimed, which has established his position in the history of Chinese aesthetics. There are many studies and studies on Canglang Poems in later generations. This work began to attract the attention of modern scholars in our country. At the beginning of last century, there were three waves of research on Yan Yu's Poems in China, and related works and papers were published. Although the research on the aesthetic connotation of "Miao Wu Theory" is relatively few, there are still different views represented by Guo Shaoyu, Qian Zhongshu, Zhou Laixiang and so on. In the introduction part, several representative views are given, and some new research methods and ideas are put forward to solve these problems. The first chapter aims to explore the ideological background of "Miao Wu Theory" and seek its origin from the historical culture and the text of Canglang Poetry. From the point of view of history and culture, firstly, "Miao Wu Theory" has its rich word meaning foundation and development process, secondly, "Miao Wu Theory" can be said to be the result of interculturality, which is influenced by the combination of Confucianism, Buddhism and Taoism. It has obvious imprint of cultural fusion, and its aesthetic connotation embodies the "effect history" of culture. From the text of Canglang's Poems, it can be inferred that "Miao Wu's Theory" is based on "saying Jiangxi Poetry sickness", the theoretical movement is "using Zen as a metaphor for poetry", and the aesthetic ideal is "poem of the flourishing Tang Dynasty". The second chapter aims to analyze the aesthetic connotation of Miao Wu Theory through its structure system. First of all, another core theory in Canglang's Poems, "interest", is regarded as the Noumenon of "Miao Wu Theory", which embodies the high standard and aesthetic pursuit of Yan Yu's poetic ideal. Secondly, Wu, regarded as the fundamental method of "Miao Wu Theory", as a unique art form, is closely related to poetry. Thirdly, it is regarded as the aesthetic effect of "Miao Wu Theory", which is divided into reality and virtual state, which embodies the pursuit of "Miao Wu Theory". The third chapter analyzes the philosophical basis of "Miao Wu Theory", contrasts the cognitive logic of "Miao Wu Theory" with the logical structure and cognitive style of Chinese traditional culture. The influence of Confucianism, Buddhism and Taoism on the formation of "Miao Wu" is obtained, and the comparison between Zen enlightenment and poetic enlightenment shows that poetic enlightenment is not the root of Zen enlightenment. The fourth chapter systematically combs the influence of Miao Wu Theory on poetic theory and its further development. Starting from the epoch response of the "Miao Wu Theory", it is divided into the influence on the contemporary era and the influence on the later dynasties. In addition, the "Miao Wu Theory" also plays an important role in the construction of the later theories in the aesthetic sense. It plays an important leading role in poetry and even other arts.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.22
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