【摘要】：清代女性文學(xué)的蓬勃發(fā)展已成不爭的歷史事實(shí),崛起的閨秀詩人在這股創(chuàng)作的浪潮中有著舉足輕重的作用。而在眾多女性創(chuàng)作中,最負(fù)盛名的當(dāng)數(shù)袁枚門下的隨園女弟子。袁枚棄官而隱,獨(dú)愛風(fēng)騷,標(biāo)舉“性靈”,天下文士競相涌之。更為重要的是,他廣收女弟子,一時紅粉青衣聯(lián)袂而來,歸附門下。袁枚的標(biāo)舉倡導(dǎo)與提攜,也使得隨園女弟子成為清中葉乾嘉時期女性文學(xué)高潮中不可或缺的一部分。我們把隨園女弟子詩歌創(chuàng)作群體作為文學(xué)個案進(jìn)行系統(tǒng)研究,尤其注意她們創(chuàng)作的個性與特點(diǎn),包括群體性的和個體性的,來觀照清中葉女性創(chuàng)作的審美心理和審美風(fēng)尚,以及這個群體帶來的社會價值和藝術(shù)價值。首先我們分析隨園女弟子群體構(gòu)成數(shù)量和方式以及由此而產(chǎn)生爭議的原因,并且提出自己的看法和觀點(diǎn);其次,我們著重分析隨園女弟子詩歌創(chuàng)作在題材方面的拓展與創(chuàng)新,前人多是寫春閨秋怨,感物懷人之作,而女弟子在繼承詠物、贈別、相思等傳統(tǒng)之外,而女弟子還獨(dú)辟蹊徑的擴(kuò)展了題材,開拓了作品的視野和范圍,這里結(jié)合作品分別從山水詩、題畫詩、唱和詩、哲理詩四個小節(jié)去闡述女弟子與傳統(tǒng)女詩人創(chuàng)作的不同之處,突出女弟子主性靈重視情感表現(xiàn)的特征。再次,我們則由這種題材的選擇去探究女弟子創(chuàng)作的藝術(shù)特征,主要是從隨園女弟子溫婉的氣質(zhì)去闡述其意象的選擇,注重情感心理表現(xiàn)的纖細(xì),同時又富有生活化、靈動而不顯呆板的特點(diǎn);她們作品語言則傾向于質(zhì)樸無華,絕少有典故堆砌,給詩壇帶來清新自然之風(fēng);由于深厚的文化素養(yǎng)和少約束,她們的創(chuàng)作藝術(shù)手法又多種多樣,運(yùn)用自然,與女弟子獨(dú)特氣質(zhì)相協(xié)調(diào),也與性靈派的詩學(xué)要求一致。最后,我們結(jié)合前面的分析,對隨園女弟子創(chuàng)作做出較為客觀的評判,認(rèn)為隨園女弟子的創(chuàng)作應(yīng)是社會價值與文學(xué)價值并重的。當(dāng)然,由于女弟子由于所處時代的原因及自身的缺陷,她們在創(chuàng)作上存在不足之處。但無論如何,隨園女弟子在中國女性文學(xué)史上仍是一道絕美的風(fēng)景線。
[Abstract]:The vigorous development of female literature in Qing Dynasty has become an indisputable historical fact, and the rising purdah poet plays an important role in the wave of creation. Among the numerous female creations, the most famous one was Yuan Mei's female disciple under Yuan Mei's door. Yuan Mei renounced the official and hidden, only love the wind, marking the "spirit", the world scholars rush. More importantly, he received female disciples, a moment of red powder and Tsing Yi together, under the attached door. Yuan Mei's advocacy and promotion also made Suyuan female disciples an indispensable part of the climax of female literature in the Qianjia period in the middle Qing Dynasty. We make a systematic study of the poetry creation group of female disciples in Suiyuan as a literary case, paying special attention to their personality and characteristics of creation, including group and individual, to take stock of the aesthetic psychology and aesthetic style of women's creation in the middle of Qing Dynasty. And the social and artistic values that this group brings. First of all, we analyze the number and method of the group composition and the reasons for the controversy, and put forward our own views and viewpoints. Secondly, we focus on the expansion and innovation in the subject matter of the poetry creation of Suiyuan female disciples. Most of the predecessors wrote about spring, boudoir and autumn, feeling things and carrying on people's works, while female disciples were inheriting the tradition of chanting, parting, and acacia, and the female disciples also created a new way to expand the subject matter and broaden the scope and scope of the works. Combining the works with landscape poems, painting poems, singing poems and philosophic poems, this paper expounds the differences between female disciples and traditional poets, and highlights the characteristics that female disciples attach importance to emotional expression. Thirdly, we choose this theme to explore the artistic characteristics of female disciple creation, mainly from the gentle temperament of the female disciple in the garden to expound the choice of their image, pay attention to the subtle emotional and psychological expression, and at the same time be rich in life. Their works tend to be simple and unsophisticated, with few allusions, which bring a fresh and natural wind to the poetry world. Because of their deep cultural literacy and less restraint, their artistic methods are varied. The use of nature, in harmony with the unique temperament of female disciples, is in line with the poetic requirements of the spirit school. Finally, based on the above analysis, we judge the creation of Suiyuan female disciple objectively, and think that the creation of Suiyuan female disciple should pay equal attention to both social value and literary value. Of course, because of the age of the female disciples and their own defects, they have shortcomings in the creation. However, Suiyuan female disciple is still a beautiful landscape in the history of Chinese female literature.
【學(xué)位授予單位】：長沙理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：I207.22

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