论宋代诗话批评视野中的黄庭坚-中国古代文学专业论文.docxVIP

万方数据 万方数据 摘要 宋人诗话在诗用层面对黄庭坚用典、句法、用字、声韵等方面都有详细归纳和描述， 具体表现在黄庭坚在造语用典上呈现出“三反”的特征，句法上以生硬为健笔，诗法上以 炼字斡旋诗歌深层结构，声律用韵方面具有拗扭姿态以及竞技性与交际性的融通性等特 点。山谷体和东坡体同被划入元祐体，在创作中显示出代表宋诗风格的趋同性和差异性， 具体表现在譬喻的博喻和典喻、错综句法和虚词使用上。与诗学批评视野中的苏黄论相对 的是，理学批评视野中的苏黄崇陶和崇杜的心理机制以及二者不同的文化人格，而这迥异 的文化人格又反映投射到他们的文学创作和诗学理论主张中。相比较苏轼，黄庭坚的诗法 给了后人仿习登阶而上的道路，故山谷在当时的影响要大于苏轼，然而江西后学产生的种 种流弊使得宋代诗学批评中关于“尊黄”与“贬黄”、“江西诗派”内部自我机制的调整 以及建构与解构等问题，由此而展开。吕本中作《江西诗社宗派图》，胡仔在否认山谷体 的独创性的基础上提出“师少陵而友江西”，进一步修正了江西派的诗学理论体系，推老 杜于山谷之上，并直接影响了方回论江西诗派的“一祖三宗”之说。严羽运用南宋禅学话 语体系来构建他心目中的诗体流派的秩序，集矢于苏黄，以此挑战苏黄和江西诗派的诗坛 地位，而元好问将理论与创作实践相结合，给予江西诗学以沉重的打击。方回通过《瀛奎 律髓》重塑了宋代诗学的典范，推举杜甫、黄庭坚、陈师道与陈与义为“一祖三宗”，增 补了吕本中的江西诗派图谱，又系统梳理了江西诗派的发展脉络。 关键词：宋代诗话 批评 黄庭坚 文化性格 江西诗派 I Abstract Song Dynasty Poetry Talks described and made conclusion of Huang Tingjian ’ s stories-usage, sentences, word-usage and sound in terms of poem-usage. To be specific, Huang Tingjian was characterized with “three disharmonies” in stories-usage, severe sentences. He used words to complete poetry construction and tweaked stance in rhyme-usage, mixing competition with communication.Shangu-style and Dongpo-style are classified as Yuanyou-style, revealing similarity and difference of Song poetries, embodying in the usage of metaphor, function words and complex sentences.Contrary to poetics ’ criticism towards Su and Huang, Neo-Confucianism discussed about Su and Huang ’ s worship of Tao and Du and different cultural personalities. And these different cultural personalities are related to their works and poem theoretical claims.Compared with Su Shi, Huang Tingjian facilitate studies and imitation, so Huang had wider influence than Su then. But the Jiangxi School’s disadvantages afterwards launched the discussion of “worship of Huang” and “despising Huang” as well as adjustment and reconstruction of“Jiangxi poem school”internal stystem.Lu Benzhong made Jiangxi Poem Community.Hu Zi, making further amendment of Jiangxi poem theory system, preferred Du Fu to Huang Tingjian, and made direct influence on Fang Hui’s “