屈原辞文体研究

发布时间：2017-12-27 07:47

本文关键词：屈原辞文体研究　出处：《山东大学》2017年博士论文　论文类型：学位论文

【摘要】：屈原辞文体研究是从文体学视角出发研究屈原辞。通过对屈原所处战国时代主要文体生成方式的研究,得出那一时期的文体内涵至少包括两个方面:文章之体类与文本之体征。所谓文章之体类,是指文章类别,诸如诰、盟、诗、赋、小说等等,它们有各自不同的生成环境,并承担相应的文体功能;所谓文本之体征,是指某一文类下的文章文本所具有的特征,包括语言、句式、文本结构等等,如史传体、问对体、庄子寓言体等等,又如诗体下的四言体、五言体、七言体、歌行体等。建立在对文体内涵的这一理解上,从文章体类上讲,屈原辞包括两大文类,即诗体与赋体。因为屈原辞中,同一文类下的篇章又存在文本体征上的差别,这在诗体一类中体现得尤为明显。这就需要对屈原辞各文类下的具体篇章从文本体征上进行再分辨。屈辞诗体中,《离骚》篇中的抒情主人公不能直接看作是屈原,而是屈原有意设置的一个"人物"形象,因其一会儿向西,一会儿向东,一会儿天上,一会儿地上,且能降神迎神,可以确定是一位神巫形象。《离骚》的创作是屈原托言于巫口,让神巫替自己说话表达,据此可视《离骚》为托言体诗。《天问》是屈原疏放汉北时所作,屈原于汉北观楚先王宗庙训政壁画,睹画兴怀,依图而作《天问》。壁画的顺序,大体决定了《天问》的内容与写作顺序,《天问》的主题思想一定程度上反映着壁画的内容思想。而一幅幅壁画的独立性,也决定了《天问》的写作不同于中西方的史诗,而是一句、两句或几句一事。可以说《天问》的创作开绘画向文体转化之先河,可认定为题画体。《九章》的创作开后世"九体"创作之先,以九个章节合为一个整体,以"九"命篇,体式独特。其中《橘颂》与《九章》其它篇章在体式上又有明显不同,《橘颂》承袭古颂体颂美传统而来,是颂体的变体。屈原《九歌》改作于南楚沅湘巫祭乐歌,经过屈原改作后,《九歌》着上了文人的艺术思维,虽然仍是用于歌唱的乐歌,但就大的文类上讲,属于诗体这一类,毕竟歌与诗很早就实现了合流。但从具体诗篇文本上看,《九歌》仍有其特殊性,不同于《离骚》《九章》与《天问》。就《九歌》中的单篇而言,除《东皇太一》《国殇》《礼魂》外,其余篇章皆存在对唱的艺术结构,这是巫祭乐歌艺术在屈原《九歌》中的存留,这些篇章的舞台表演因素依旧显著,与戏剧存在相似性,可将其称为剧体歌。而从《九歌》整体上看,十一篇《九歌》结构完整,有屈原自己的编排构思在,联系在一起如同一成成上演的乐章,而且《九歌》篇章也确实带有音乐性,所以十一篇《九歌》可视作乐章体。屈辞赋体中,《卜居》《渔父》虚设问对以明志刺时,开问对驳难赋体之先;《招魂》中对楚美的描写,宏大瑰丽,语辞精美,奠定了状物骋辞大赋的书写基础。刘勰言"夫情致异区,文变殊术,莫不因情立体,即体成势","势"就是风格,不同的文体会表现出不同的风格。但是因文体的选择源于情感意志表达的需要,所以从本质上来说,文体风格的形成还当源于文本中情感的积淀。《离骚》《九章》积淀为悲怨、风骨的风格特征;《天问》表现出激愤、警策的风格特征;《九歌》表现出凄婉缠绵的风格特征。屈原辞情感饱满,悲郁感人,言辞精美,恢弘瑰丽,其文体样式在后世被广泛继承和模仿,影响了后世文学文体写作,其中对赋体文学创作的影响尤为明显。在结构上,本文主要分为七个部分。绪论部分主要是对相关概念的界定和屈原辞文体研究现状及所存在的问题的论述。第一章,具体论述战国历史语境中文体的生成形式及其内涵,明确本文所用文体的概念内涵。第二章,依据屈原辞文本特征、创作目的及创作艺术构思,划分屈原辞文体类别,分诗体与赋体两大类。第三章,依据各篇章文本体征的不同,对诗体文类下的具体篇章进行再分辨,将《离骚》认定为托言体诗,将《天问》认定为题画体诗,将《九章》认定为"九体"组诗。将《九歌》中的《东君》《云中君》《大司命》《少司命》《湘君》《湘夫人》《山鬼》《河伯》认定为剧体歌;整体十一章《九歌》看作是乐章体歌。第四章,对屈辞赋体进行再分辨,将《卜居》《渔父》认定为问对体言志明理赋,将《招魂》认定为是状物骋辞大赋。第五章,对屈原辞文体风格进行论析,不同的体式会形成不同的风格,而体式的不同又源于情感表达的需要,《离骚》《九章》表现为悲怨、风骨的风格特征;《天问》表现出激愤、警策的风格特征;《九歌》则表现为凄婉缠绵的风格特征。第六章,论述屈辞文体在后世的流变与影响。
[Abstract]:The study of Qu Yuan's stylistic style is a study of Qu Yuan's words from the perspective of stylistics. Through the study of the main styles of Qu Yuan's Warring States period, the stylistic connotations of that period include at least two aspects: the body and the signs of the article. The article refers to the body of the class, the categories, such as patent, Au, poems, novels and so on, they have their own generation in different environment, and assume the corresponding stylistic functions; the so-called text signs, refers to a genre of text features articles under it, including language, sentence, text the structure and so on, such as the history of body, body, ask Chuang-tzu fables and so on, and as the four character verse, five, seven character Gexing, etc.. Based on the understanding of the connotation of the style, from the body of view, including the two major categories of CI Qu, namely poetry and fu. In the words of the same category, there is a difference between the text and the physical signs, which is particularly evident in the style of poetry. This requires a re - resolution of the specific text of the genre of Qu Yuan's words from the text. Quci verse, "Lisao" in the lyric protagonist not directly as Qu Yuan, but Qu Yuan is a "character" image set, because of the west to the East for a moment, a moment, a moment of heaven, while on the ground, and can determine the seance towards God, is a wizard image. "Lisao" is the creation of the words in the mouth of Qu Yuan, let God speak for themselves, according to visual "Lisao" as a supporting character poem. "Heaven" is made by Qu Han Bei drainage, Qu Yuan in the Han Wang Temple Chu Bei Guan Xunzheng painting murals, see Xing Huai, according to the "heaven". The order of the mural "heaven", generally determines the content and writing order, "theme of heaven" to a certain extent reflects the contents of mural thought. And the independence of a mural, also determines the "heaven" is different from writing in Western Epic, but one or two or a few things. We can say "heaven" and the creation of painting style transformation to the beginning, can be identified as painting. The creation of "nine chapters" begins with the creation of the "nine body" in the later generations. It combines nine chapters as a whole, with the "Nine" life text, and the style is unique. The "Ju song" and "nine chapters" and other chapters in style are significantly different, "Ju song" inherited the song style and traditional praise, is a variant of the style of eulogy. Qu Yuan "Nine Songs" as in South Chu Yuanxiang sacrificial songs, after Qu Yuan changed, "Nine Songs" on the literary artistic thought, although still used for singing songs, but the genre of poetic sense, belong to this category, after all the songs and poetry early realized confluence. But from the specific text on the poem, "Nine Songs" still has its particularity, different from the "Li Sao" "nine chapters" and "heaven". On the "Nine Songs" in the article, in addition to "Donghuang Taiyi" "war" ritual "soul", the remaining text there is art structure to sing, this is the offering of art songs remain in Qu Yuan "Nine Songs" in the stage performance factors of these texts is still significant, and Drama are similar, but called the dramatic song. From the "Nine Songs" on the whole, eleven pieces of "Nine Songs" structural integrity, Qu Yuan in their arrangement idea together, as of 10% staged movement, and "Nine Songs" text did with music, so eleven "Nine Songs" visual music chapter body. Qu prose, "divination occupies" dummy "Fisherman" asked to ask to open when the thorn Ming, Fu before difficulties; the "evocation" of Chu Mei description, grand magnificent words beautifully laid the basic writing like Cheng Fu's speech. Liu Xie said "the husband looked different, but the change of, not because of love is three-dimensional, form", "potential" is the style, different style will show different style. However, because the choice of style stems from the need of emotional will expression, in essence, the formation of stylistic style is also derived from the accumulation of emotion in the text. "Lisao" "nine chapters" accumulation of melancholy, character style; style characteristics of "heaven" show anger, jingce; "Nine Songs" show style plaintive lingering. His speech full of emotion, so touching words, beautiful, grand and magnificent, the style in the later widely inherited and imitation, influenced later literary writing, which influence on the creation of Fu is particularly evident. In structure, this article is divided into seven parts. The introduction is mainly about the definition of the related concepts and the present situation of the study of the style of Qu Yuan's style and the existing problems. In the first chapter, the form and connotation of style in the historical context of the Warring States period are discussed, and the connotation of the style used in this article is clarified. The second chapter, according to the characters of the text of the Qu Yuan, the purpose of creation and the artistic conception of creation, divides the genre of Qu Yuan's style, divided into two categories: Poetry and Fu. The third chapter, on the basis of the text signs are different, specific chapters of the writing class was resolved, will be identified as "Lisao" words, poetry, the "heaven" that title painting poetry, the "nine chapters" as "nine poems". The "Nine Songs" in the "" "" "big powers" monarch of clouds "" "" "less contemporary Xiangjun madam Xiang" "goddess" "Bo" identified as dramatic songs; eleven chapter "Nine Songs" as the song body movement. The fourth chapter of Qu prose to distinguish the "divination occupies" "Fisherman" as to ask and Yanzhi Fu, will be identified as the "evocation" is like Cheng Fu. The fifth chapter of Qu Yuan speech style carries on the analysis, the different postures will form a different style, different style and needs from emotional expression, "Li Sao" "nine chapters" is melancholy, character style; style characteristics of "heaven" show anger, alert; "
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：I207.22

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