严羽《沧浪诗话》“妙悟说”及其审美价值

发布时间：2018-11-08 15:33

【摘要】：严羽的《沧浪诗话》涉及到了诗歌的根本问题,即诗歌的本质问题,其中“妙悟说”它代表了严羽对于诗歌的根本看法,因此被当作《沧浪诗话》的核心理论。“妙悟说”的提出曾轰动一时,迄今为止也是诗歌理论界的重点研究对象,本文在综合前人研究资料的基础上,采用一些新的方法,对“妙悟说”的审美内涵和审美价值进行研究。导论部分,结合严羽的生平谈及他的人物性格和诗作风格,他的诗歌理论著作《沧浪诗话》备受称誉,奠定了他在中国美学史上的地位。后世对《沧浪诗话》的学习和研究都很多,这部著作在我国开始为现代学者所关注发生在上个世纪初,国内先后掀起三次严羽诗学研究的浪潮,并出版与此相关的著作和论文。尽管对“妙悟说”审美内涵的研究相对较少,但仍有以郭绍虞、钱钟书、周来祥等人为代表的不同观点。导论部分例举了几家代表观点,并提出问题,针对这些问题提出本文新的研究方法和思路。论文的第一章,意在发掘“妙悟说”产生的思想背景,分别从历史文化和《沧浪诗话》的文本中寻求其根源。从历史文化的角度来看,首先,“妙悟说”有其丰富的词义基础与发展过程,其次,“妙悟说”的产生可以说是文化间性的结果,它受到儒释道三家思想合成的影响,带有明显的文化融合印记,它的审美内涵体现了文化的“效果历史”。从《沧浪诗话》的文本推测“妙悟说”,它的立论基础为“说江西诗病”,理论动因为“以禅喻诗”,审美理想为“师法盛唐之诗”。论文的第二章,旨在透过“妙悟说”的结构体系分析它的美学内涵。首先,《沧浪诗话》中的又一核心理论——“兴趣”被视为“妙悟说”的本体,它体现了严羽诗歌理想的高级标准和审美追求;其次,悟,被看做“妙悟说”的根本方法,作为一种独特的艺术形式,悟与诗歌之间的联系紧密;再次,境,被当作“妙悟说”最终所要达到的审美效果,境,分为实境与虚境,体现了“妙悟说”的追求。论文的第三章,进入到对于“妙悟说”哲学基础的分析,将“妙悟说”的认知逻辑与中国传统文化的逻辑结构、认知方式进行对照,得出儒释道之间以及对“妙悟说”形成的影响,并通过禅悟与诗悟之间的比较,说明诗悟不等于禅悟的根本所在。论文的第四章,系统地梳理了“妙悟说”对诗论的影响和在后来的继续发展。从“妙悟说”的时代反响出发,分为对同时代的影响和对后来历朝历代的影响,另外,“妙悟说”还在审美上对后来的理论起到了重要的建构作用,为诗歌乃至其他艺术起到了重要的引领作用。
[Abstract]:Yan Yu's "Canglang's Poems" involves the fundamental problem of poetry, namely the essence of poetry, in which "Miao Wu" represents Yan Yu's fundamental views on poetry, so it is regarded as the core theory of "Canglang's Poems". The proposal of "Miao Wu Theory" has been a hit and has been the focus of research in the field of poetry theory up to now. On the basis of synthesizing the previous research materials, this paper adopts some new methods. The aesthetic connotation and aesthetic value of Miao Wu Theory are studied. In the introduction part, according to Yan Yu's life, his character and poetic style are discussed. His poetry theory works Canglang's Poems are highly acclaimed, which has established his position in the history of Chinese aesthetics. There are many studies and studies on Canglang Poems in later generations. This work began to attract the attention of modern scholars in our country. At the beginning of last century, there were three waves of research on Yan Yu's Poems in China, and related works and papers were published. Although the research on the aesthetic connotation of "Miao Wu Theory" is relatively few, there are still different views represented by Guo Shaoyu, Qian Zhongshu, Zhou Laixiang and so on. In the introduction part, several representative views are given, and some new research methods and ideas are put forward to solve these problems. The first chapter aims to explore the ideological background of "Miao Wu Theory" and seek its origin from the historical culture and the text of Canglang Poetry. From the point of view of history and culture, firstly, "Miao Wu Theory" has its rich word meaning foundation and development process, secondly, "Miao Wu Theory" can be said to be the result of interculturality, which is influenced by the combination of Confucianism, Buddhism and Taoism. It has obvious imprint of cultural fusion, and its aesthetic connotation embodies the "effect history" of culture. From the text of Canglang's Poems, it can be inferred that "Miao Wu's Theory" is based on "saying Jiangxi Poetry sickness", the theoretical movement is "using Zen as a metaphor for poetry", and the aesthetic ideal is "poem of the flourishing Tang Dynasty". The second chapter aims to analyze the aesthetic connotation of Miao Wu Theory through its structure system. First of all, another core theory in Canglang's Poems, "interest", is regarded as the Noumenon of "Miao Wu Theory", which embodies the high standard and aesthetic pursuit of Yan Yu's poetic ideal. Secondly, Wu, regarded as the fundamental method of "Miao Wu Theory", as a unique art form, is closely related to poetry. Thirdly, it is regarded as the aesthetic effect of "Miao Wu Theory", which is divided into reality and virtual state, which embodies the pursuit of "Miao Wu Theory". The third chapter analyzes the philosophical basis of "Miao Wu Theory", contrasts the cognitive logic of "Miao Wu Theory" with the logical structure and cognitive style of Chinese traditional culture. The influence of Confucianism, Buddhism and Taoism on the formation of "Miao Wu" is obtained, and the comparison between Zen enlightenment and poetic enlightenment shows that poetic enlightenment is not the root of Zen enlightenment. The fourth chapter systematically combs the influence of Miao Wu Theory on poetic theory and its further development. Starting from the epoch response of the "Miao Wu Theory", it is divided into the influence on the contemporary era and the influence on the later dynasties. In addition, the "Miao Wu Theory" also plays an important role in the construction of the later theories in the aesthetic sense. It plays an important leading role in poetry and even other arts.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22

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