【摘要】：魏晉之際,天下大亂。二十余年的曹馬之爭(zhēng)使得當(dāng)時(shí)眾多文人名士紛紛卷入瞬息萬(wàn)變的政治風(fēng)云之中�！爸窳制哔t”作為當(dāng)時(shí)名士的翹楚,自然難以在紛亂時(shí)代中獨(dú)善其身。他們七人有著不同的人生選擇,阮籍不拘禮法、我行我素,嵇康逍遙山林、亦隱亦仕,山濤亦官亦隱、沉浮于世,向秀逍遙,王戎慳吝,劉伶醉酒,阮咸彈琴……各不相同、其志各異。而在后世士人的接受過(guò)程中,竹林七賢卻逐漸形成了集體化的藝術(shù)形象。他們作為獨(dú)立個(gè)體時(shí)的人生選擇幾乎涵蓋了我國(guó)后世古代知識(shí)分子安身立命的大部分模式,他們作為集體出現(xiàn)時(shí)又呈現(xiàn)出談玄醉酒、自然風(fēng)流的魏晉名士形象。作為我國(guó)古代著名的文人團(tuán)體,竹林七賢的命運(yùn)遭際、藝術(shù)創(chuàng)作以及審美境界,深刻地影響了我國(guó)古代文人心理和文學(xué)作品的發(fā)展。七賢在世時(shí)便已經(jīng)頗具名望,關(guān)于他們的精神、行為、生平、外貌和氣度,不斷被當(dāng)時(shí)及后世文人追慕和效仿。以竹林七賢其人和其文學(xué)創(chuàng)作為契機(jī),后世文人創(chuàng)作了眾多的關(guān)于竹林七賢文學(xué)作品以及文學(xué)批評(píng)理論。不同時(shí)期對(duì)竹林七賢的不同解讀,反映了不同年代文士和文學(xué)的面貌。對(duì)于文學(xué)作品中提及前人事跡和文學(xué)創(chuàng)作的現(xiàn)象,我國(guó)古代文學(xué)史上有諸多的理論可以解釋,用典、化用、詠史懷古……立論各異,眾說(shuō)紛紜。從接受美學(xué)角度研究竹林題材文學(xué),則是以接受者為中心,研究接受者的接受特點(diǎn)與文學(xué)再創(chuàng)造,賦予接受對(duì)象新的意義和時(shí)代價(jià)值。魏晉南北朝作為竹林七賢接受的開(kāi)端,當(dāng)時(shí)的文學(xué)接受情況奠定了竹林七賢在我國(guó)古代文化中的重要地位和具體形象。本文從接受者的角度出發(fā),結(jié)合現(xiàn)代接受學(xué)理論和中國(guó)古代文學(xué)接受史,以魏晉南北朝時(shí)間為序,以該時(shí)期主要的竹林七賢接受作品和文藝批評(píng)為研究對(duì)象具體討論,對(duì)理清竹林七賢的接受史源流和發(fā)展?fàn)顩r有著深刻意義。
[Abstract]:During the Wei and Jin dynasties, the whole world was in chaos. More than 20 years of Cao Ma's struggle made many literati involved in the rapidly changing political situation. As the best of famous people at that time, it was difficult to be alone in the turbulent times. The seven of them have different choices of life. Ruan Ji has his own way of life. He does his own thing. Ji Kang is at ease in the mountains. He is also an official. The mountain waves are also official and hidden, floating in the world, showing their freedom, Wang Rong covetous, Liu Ling drunk, and Ruan Xian playing the harp. They are different and their records are different. In the process of accepting the scholars, the seven sages of bamboo forest gradually formed the collectivized artistic image. Their choice of life as an independent individual almost covered most of the models of the ancient intellectuals of our country. When they appeared as a group, they presented the image of the famous personages in Wei and Jin dynasties. As a famous literati group in ancient China, the fate, artistic creation and aesthetic realm of the seven sages of bamboo forest have deeply influenced the development of Chinese ancient literati's psychology and literary works. The seven sages were already famous in their lives. Their spirit, behavior, life, appearance and bearing were constantly admired and imitated by scholars of that time and later generations. Taking the seven sages of bamboo forest and their literary creation as the turning point, the scholars of later generations have created numerous literary works and literary criticism theories about the seven sages of bamboo forests. Different interpretations of the seven sages of bamboo forest in different periods reflect the appearance of scholars and literature in different ages. There are many theories in the history of ancient Chinese literature to explain the phenomenon of the former deeds and literary creation mentioned in literary works. There are different arguments and different opinions. From the perspective of reception aesthetics, the study of bamboo literature is centered on the recipient, studies the recipient's reception characteristics and literary re-creation, and endows the recipient with new significance and contemporary value. Wei, Jin, Southern and Northern dynasties, as the beginning of the seven sages of bamboo forest acceptance, the literary acceptance at that time established the important position and the concrete image of the bamboo forest seven sages in the ancient culture of our country. From the perspective of the receiver, combined with the modern reception theory and the history of Chinese ancient literature acceptance, this paper takes the time of the Wei, Jin and the Northern and Southern dynasties as the order, and discusses the main bamboo works and literary criticism in that period as the research object. It is of great significance to clarify the history and development of bamboo forest.
【學(xué)位授予單位】：貴州師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：I206.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 劉小兵;;論阮籍《詠懷詩(shī)》的詩(shī)史意義——以唐人對(duì)阮籍《詠懷詩(shī)》的接受為視角[J];中南民族大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2016年02期

2 張珊珊;;《世說(shuō)新語(yǔ)》中的阮籍形象研究[J];鴨綠江(下半月版);2015年10期

3 王頌;;千年人謂兩風(fēng)流——論《道賢論》所記名僧名士事[J];云南大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2015年03期

4 葉當(dāng)前;;桐城派古文家對(duì)阮籍《詠懷詩(shī)》的接受[J];中國(guó)韻文學(xué)刊;2014年04期

5 鄧溪燕;;懷舊空吟聞笛賦——唐人對(duì)向秀及其《思舊賦》的接受[J];求索;2014年03期

6 劉寧;王之瑤;;論唐代詩(shī)人對(duì)嵇康的文化接受[J];唐都學(xué)刊;2014年02期

7 方向紅;;《世說(shuō)新語(yǔ)》與《詠懷詩(shī)》中阮籍形象差異之因由[J];求索;2013年09期

8 束莉;吳懷東;;六朝莊學(xué)的世俗化與嵇康接受中的譏評(píng)[J];廈門(mén)大學(xué)學(xué)報(bào)( 哲學(xué)社會(huì)科學(xué)版);2013年05期

9 衛(wèi)紹生;;論《世說(shuō)新語(yǔ)》中的阮籍[J];中原文化研究;2013年01期

10 劉小兵;;竹林七賢在唐代的傳播與接受——從唐人所撰史書(shū)、類(lèi)書(shū)及蒙書(shū)的角度[J];寧夏大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2013年01期

相關(guān)碩士學(xué)位論文 前10條

1 翟晶晶;唐前文學(xué)對(duì)阮籍的接受研究[D];江南大學(xué);2016年

2 陳思瑞;唐詩(shī)中的竹林七賢形象[D];安徽大學(xué);2016年

3 付旭陽(yáng);竹林七賢文化形象研究[D];南京師范大學(xué);2014年

4 李楊;唐人之阮籍風(fēng)神接受研究[D];哈爾濱師范大學(xué);2012年

5 李衛(wèi)東;漢魏晉南北朝吊文研究[D];西北師范大學(xué);2012年

6 魏銘;阮籍、左思五言詠懷詩(shī)比較研究[D];延邊大學(xué);2010年

7 鄭偉;唐前嵇康現(xiàn)象研究[D];山東大學(xué);2009年

8 蘇雯;竹林七賢研究[D];廈門(mén)大學(xué);2009年

9 董繼兵;阮籍詩(shī)歌接受史研究[D];華中師范大學(xué);2006年

10 杜鳳俠;六朝阮籍《詠懷》詩(shī)接受史[D];清華大學(xué);2006年

，

本文編號(hào)：2379173