鄭文焯詞學(xué)研究
發(fā)布時間：2018-09-13 15:19
【摘要】：以聲情為重要特征的詞體,至清末獲得了中興之勢。清季四大詞人之一的鄭文焯于填詞創(chuàng)作、詞籍校勘、詞學(xué)批評、詞律研究諸方面成就卓著,在實現(xiàn)浙西、常州詞派理論融合的基礎(chǔ)上,推動晚清民初詞學(xué)的復(fù)興。在細(xì)讀鄭文焯詞集與詞話的基礎(chǔ)上,結(jié)合晚清民初詞壇的詞學(xué)背景,以二者關(guān)系為切入點,重點探討以下幾方面問題：第一章從詞學(xué)交往角度,以詞社、交游、酬應(yīng)等詞學(xué)活動為線索,指出鄭文焯主持或參與了多個詞學(xué)結(jié)社活動,通過指導(dǎo)提攜社友、�？痹~籍、詞學(xué)宗旨的提倡等方式推動著南北方的詞學(xué)建設(shè)。第二章從內(nèi)容與形式角度,分析了鄭文焯詞的主題及藝術(shù)風(fēng)貌：在表面的清空飄逸風(fēng)貌下蘊藏著士大夫的憂傷情懷,這種憂戚由對自然風(fēng)光、社會生活至內(nèi)心活動等表現(xiàn)對象的不同,由淡而濃,漸趨深入；其詞語言精巧、意象衰淡、境界疏宕、氣節(jié)瘦拔,尤其是在采菊東籬的率真意象下蘊藏著幽約怨悱的詞心。第三章從詞學(xué)批評角度,以鄭文焯對姜夔詞、清空學(xué)說、樂律理論等方面研究為軸心,指出其在繼承姜夔詞幽韻冷香、騷雅峭拔的詞風(fēng)基礎(chǔ)上,引骨氣、意趣入清空,挽救了清末詞壇空虛晦澀的流弊之風(fēng)；在傳統(tǒng)音樂文學(xué)的背景之下,主張聲文諧和、自然合樂的詞樂旨向,注重傳承詞體音樂文學(xué)的本色。結(jié)語部分從鄭文焯的詞學(xué)創(chuàng)作與晚清詞壇異軌殊途又千絲萬縷的詞學(xué)聯(lián)系角度,總結(jié)鄭氏詞學(xué)于晚清詞壇的獨特性,通過其清客身份與晚清社會若即若離的獨特關(guān)系,揭示其對晚清詞壇革故鼎新的作用。
[Abstract]:By the end of Qing Dynasty, the style of ci, which was characterized by sound and emotion, gained the tendency of ZTE. Zheng Wenzhuo, one of the four great ci poets in the Qing Dynasty, made remarkable achievements in the writing of ci, the collation of ci books, the criticism of ci, and the study of ci. On the basis of realizing the integration of the theory of ci school in western Zhejiang and Changzhou, it promoted the revival of ci science in the late Qing Dynasty and early Republic of China. On the basis of carefully reading Zheng Wenzhuo's ci collection and ci words, combined with the ci poetry background of the late Qing Dynasty and the beginning of the Republic of China, and taking the relationship between the two as the breakthrough point, the first chapter focuses on the following aspects: the first chapter discusses the following problems from the perspective of ci communication, ci society, friendship, etc. It is pointed out that Zheng Wenzhuo presided over or participated in many ci poetry association activities and promoted the construction of ci poetry in the south and north by guiding and carrying out friends collating ci books and advocating the purpose of ci poetry. The second chapter analyzes the theme and artistic style of Zheng Wenzhuo's ci from the angle of content and form. Social life to inner activities and other performance objects, from light and thick, gradually deepening; its words language delicate, image decline, realm sparse, thin and pull-out, especially in the chrysanthemum Dongli under the frank image of Youyou and grudges to worry about the word heart. The third chapter takes Zheng Wenzhuo's research on Jiang Kui's ci, emptiness theory and music and law theory as the axis from the perspective of ci criticism. In the background of traditional music literature, the author advocates harmony of sound and text, natural harmony of ci and music, and pays attention to inheriting the essence of ci and style music literature. In the conclusion part, from the angle of Zheng Wenzhuo's ci poetry creation and the inextricable and inextricable relationship between the different ways of ci poetry in the late Qing Dynasty, the author summarizes the uniqueness of Zheng's ci poetry in the late Qing Dynasty, and through his unique relationship between the Qing Dynasty and the late Qing Dynasty, the unique relationship between the identity of the Qing Dynasty and the society of the late Qing Dynasty is given. To reveal its role in the late Qing poetry reform.
【學(xué)位授予單位】：安徽師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：I207.23
本文編號：2241555
[Abstract]:By the end of Qing Dynasty, the style of ci, which was characterized by sound and emotion, gained the tendency of ZTE. Zheng Wenzhuo, one of the four great ci poets in the Qing Dynasty, made remarkable achievements in the writing of ci, the collation of ci books, the criticism of ci, and the study of ci. On the basis of realizing the integration of the theory of ci school in western Zhejiang and Changzhou, it promoted the revival of ci science in the late Qing Dynasty and early Republic of China. On the basis of carefully reading Zheng Wenzhuo's ci collection and ci words, combined with the ci poetry background of the late Qing Dynasty and the beginning of the Republic of China, and taking the relationship between the two as the breakthrough point, the first chapter focuses on the following aspects: the first chapter discusses the following problems from the perspective of ci communication, ci society, friendship, etc. It is pointed out that Zheng Wenzhuo presided over or participated in many ci poetry association activities and promoted the construction of ci poetry in the south and north by guiding and carrying out friends collating ci books and advocating the purpose of ci poetry. The second chapter analyzes the theme and artistic style of Zheng Wenzhuo's ci from the angle of content and form. Social life to inner activities and other performance objects, from light and thick, gradually deepening; its words language delicate, image decline, realm sparse, thin and pull-out, especially in the chrysanthemum Dongli under the frank image of Youyou and grudges to worry about the word heart. The third chapter takes Zheng Wenzhuo's research on Jiang Kui's ci, emptiness theory and music and law theory as the axis from the perspective of ci criticism. In the background of traditional music literature, the author advocates harmony of sound and text, natural harmony of ci and music, and pays attention to inheriting the essence of ci and style music literature. In the conclusion part, from the angle of Zheng Wenzhuo's ci poetry creation and the inextricable and inextricable relationship between the different ways of ci poetry in the late Qing Dynasty, the author summarizes the uniqueness of Zheng's ci poetry in the late Qing Dynasty, and through his unique relationship between the Qing Dynasty and the late Qing Dynasty, the unique relationship between the identity of the Qing Dynasty and the society of the late Qing Dynasty is given. To reveal its role in the late Qing poetry reform.
【學(xué)位授予單位】：安徽師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：I207.23
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