發(fā)布時(shí)間：2018-07-13 13:51

【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(fēng)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(fēng)的轉(zhuǎn)變又使得他對(duì)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(fù)雜的意義指向。然而,伴隨著艷詩創(chuàng)作之風(fēng)的進(jìn)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(dǎo)者,從這個(gè)意義上來說,其在江戶明治詩風(fēng)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(cái)經(jīng)大學(xué)人文與傳播學(xué)院;上海師范大學(xué)人文與傳播學(xué)院;
【基金】：國家社科基金重點(diǎn)項(xiàng)目《東亞漢詩史初編》,項(xiàng)目編號(hào):14AZW007 中國博士后科學(xué)基金《好色與“好色”之間——日本江戶;明治時(shí)期艷詩研究》,項(xiàng)目編號(hào):2016M591587
【分類號(hào)】：I313.072
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本文編號(hào)：2119585