本文選題：杜甫　切入點(diǎn)：正變　出處：《山東大學(xué)》2016年碩士論文

【摘要】：本論文以許學(xué)夷的杜詩(shī)評(píng)論為研究對(duì)象,對(duì)其杜詩(shī)研究的幾個(gè)代表性問(wèn)題進(jìn)行述評(píng),并力圖準(zhǔn)確地揭示許學(xué)夷杜詩(shī)評(píng)論的內(nèi)容與特色,并進(jìn)一步探討其在杜詩(shī)學(xué)史上的貢獻(xiàn)與地位。正文分為四部分：第一章討論許學(xué)夷對(duì)杜詩(shī)正變的看法。許學(xué)夷在總體上肯定杜詩(shī)為正體,并通過(guò)對(duì)杜詩(shī)的詩(shī)體特質(zhì)與元和詩(shī)“以文為詩(shī)”的細(xì)致辨析,顯示出杜詩(shī)的正體特質(zhì)。許學(xué)夷進(jìn)一步對(duì)杜詩(shī)各體(尤其是近體)中的“變體”進(jìn)行了細(xì)致的辨析。論杜甫七言律詩(shī),他提出了杜甫七律“變勝于正”的觀點(diǎn),這可以視為“辯體詩(shī)學(xué)”即將由“正變論”走向“通變論”的一個(gè)標(biāo)志；他還重點(diǎn)探討了杜甫七律“以歌行入律”的問(wèn)題,他沒(méi)有抱著“伸正詘變”的態(tài)度悍然否定這些“大變”之詩(shī)的價(jià)值。由他對(duì)杜甫五言律詩(shī)與七言絕句的評(píng)論,也可見(jiàn)他對(duì)杜詩(shī)“變體”的包容和肯定。第二章探討許學(xué)夷對(duì)杜詩(shī)與盛唐詩(shī)之異同的比較。許學(xué)夷重點(diǎn)比較了杜甫律詩(shī)與盛唐律詩(shī)的異同,在創(chuàng)作特征上,他以“惟在興趣”概括盛唐律詩(shī),而認(rèn)為杜甫律詩(shī)“以意為主”；在審美境界上,分別以“優(yōu)游不迫”與“沉著痛快”來(lái)概括盛唐律詩(shī)與杜甫律詩(shī)；他還進(jìn)一步指出盛唐律詩(shī)與《詩(shī)經(jīng)》中《國(guó)風(fēng)》的繼承關(guān)系,而杜甫律詩(shī)則更多地體現(xiàn)出與《雅》的繼承關(guān)系；在總體成就上,他確認(rèn)杜甫律詩(shī)與盛唐律詩(shī)同為“入圣”,明確不分優(yōu)劣,不再站在“集大成”的立場(chǎng)上推崇杜詩(shī)高過(guò)盛唐。論古詩(shī),許學(xué)夷認(rèn)為杜甫古詩(shī)高于盛唐諸公,達(dá)到了“入神”的境界。第三章研究許學(xué)夷對(duì)李杜比較論的闡釋。在創(chuàng)作特點(diǎn)上,許學(xué)夷以“主興”“極才人之致”來(lái)概括李白詩(shī)歌,以“主意”“盡作者之能”來(lái)總結(jié)杜甫詩(shī)歌；在作品風(fēng)格上,他以“豪放”與“沉著”來(lái)分別論述李杜詩(shī)歌；在藝術(shù)淵源上,他認(rèn)為李白詩(shī)歌“多出于漢魏六朝”,具有“集大成”的特征,杜甫詩(shī)歌則具有“獨(dú)造”的特征。第四章論述許學(xué)夷對(duì)杜詩(shī)與宋詩(shī)之關(guān)系的看法。他確認(rèn)宋詩(shī)為變體,卻在一定程度上肯定宋詩(shī)的價(jià)值；他強(qiáng)調(diào)杜詩(shī)“變體”對(duì)宋詩(shī)的開(kāi)啟作用；他認(rèn)為宋人學(xué)杜詩(shī)不類；他還進(jìn)一步提出宋人有意學(xué)杜詩(shī)瑕疵的論斷。
[Abstract]:Taking Xu Xueyi's comments on du's poems as the object of study, this paper reviews several representative issues in his research, and tries to reveal the content and characteristics of Xu Xueyi's comments on du's poems. The main body is divided into four parts: the first chapter discusses Xu Xueyi's view on du Shi's positive change. And through the analysis of the poetic characteristics of du's poems and the detailed analysis of Yuan he's poem "taking the text as the poem", Xu Xueyi further discriminates and analyzes the "variants" in various styles of du's poems (especially the recent ones). On du Fu's seven-character poems, he puts forward the view that du Fu's seven laws "become better than upright". This can be regarded as a sign that "dialectical poetics" is about to move from "positive theory" to "general change theory", and he also focuses on the question of du Fu's seven laws "entering the law by singing". He did not brazenly deny the value of these "great changes" in his attitude of "outstretched and changed". His comments on du Fu's five-character legal poems and seven-character quatrains, The second chapter discusses Xu Xueyi's comparison of the similarities and differences between du's poems and those of the prosperous Tang Dynasty. Xu Xueyi focuses on the similarities and differences between du Fu's poems and those of the prosperous Tang Dynasty. He generalizes the legal poems of prosperous Tang Dynasty with "interest only", but thinks that du Fu's poems are "mainly by meaning", while in aesthetic realm, he generalizes the poems of law and du Fu's poems respectively by "having a good tour" and "having a good time". He further pointed out the inheritance relationship between the law poems of the prosperous Tang Dynasty and the Book of songs, while du Fu's poems more embodied the inheritance relationship with elegance, and in the overall achievements, He confirmed that du Fu's legal poems were "consecrated" as well as those of the prosperous Tang Dynasty, and made it clear that there was no distinction between merits and demerits, and he no longer admired du's poems on the stand of "gathering success". On ancient poetry, Xu Xueyi thought that du Fu's ancient poems were higher than those of the great Tang Dynasty. The third chapter studies Xu Xueyi's explanation of Li du's comparative theory. In terms of creative characteristics, Xu Xueyi generalizes Li Bai's poems with "main exhilaration" and "extremely talented people", and sums up du Fu's poems with "ideas" and "to the best of the author's ability". In the style of his works, he discussed Li du's poems separately by "unrestrained" and "calm". In terms of artistic origin, he thought that Li Bai's poems "mostly originated from the Han, Wei and six dynasties" and had the characteristics of "great achievements". The fourth chapter discusses Xu Xueyi's view on the relationship between du poetry and Song poetry. He confirms the Song poetry as a variant, but to a certain extent affirms the value of Song poetry. He emphasized the function of "variation" of du poem to the poetry of Song Dynasty; he thought that the Song Dynasty did not study du poem; he also put forward the conclusion that the Song Dynasty intended to learn the flaw of du poem.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：I207.22

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 方錫球;許學(xué)夷“詩(shī)體”論的文化整合特點(diǎn)[J];社會(huì)科學(xué)輯刊;2004年03期

2 田柳;淺論許學(xué)夷其人及對(duì)徐霞客的影響[J];無(wú)錫教育學(xué)院學(xué)報(bào);1998年03期

3 方錫球;許學(xué)夷對(duì)宋人“以才學(xué)為詩(shī)”二重性的認(rèn)識(shí)[J];文學(xué)遺產(chǎn);2001年02期

4 汪泓;“辯體”不“辯意”——許學(xué)夷論“體制為先”[J];江西社會(huì)科學(xué);2003年09期

5 查清華;;許學(xué)夷唐體之辨及其詩(shī)歌史意義[J];求是學(xué)刊;2008年06期

6 汪泓;許學(xué)夷明詩(shī)辨體批評(píng)述考[J];南京大學(xué)學(xué)報(bào)(哲學(xué).人文科學(xué).社會(huì)科學(xué)版);2004年02期

7 汪泓;許學(xué)夷詩(shī)體正變論之再評(píng)價(jià)[J];江西師范大學(xué)學(xué)報(bào);2003年05期

8 陳斌;;許學(xué)夷的漢魏詩(shī)史觀[J];福建師范大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2006年04期

9 陳斌;;辨體:許學(xué)夷論漢魏六朝詩(shī)歌流變[J];河北科技師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2011年04期

10 方錫球;;許學(xué)夷對(duì)初唐詩(shī)歌中唐詩(shī)精神的審視[J];安慶師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2006年03期

相關(guān)碩士學(xué)位論文 前6條

1 張樂(lè)樂(lè);許學(xué)夷論杜詩(shī)述評(píng)[D];山東大學(xué);2016年

2 戴麗萍;論許學(xué)夷的唐詩(shī)觀[D];華僑大學(xué);2014年

3 高欣;許學(xué)夷《詩(shī)源辯體》詩(shī)學(xué)三論[D];首都師范大學(xué);2014年

4 王小溪;許學(xué)夷《詩(shī)源辯體》的詩(shī)歌發(fā)展觀研究[D];山東師范大學(xué);2014年

5 李啟迪;許學(xué)夷《詩(shī)源辯體》的盛唐詩(shī)觀[D];西南大學(xué);2013年

6 歐陽(yáng)含其;晚明晉詩(shī)接受研究[D];貴州大學(xué);2015年

，

本文編號(hào)：1674603