【作者】 符继成；

【导师】 赵晓岚；

【作者基本信息】 湖南师范大学 ， 中国古代文学， 2010， 博士

【摘要】 北宋后期是唐宋词发展过程中的高峰期,也是词风向南宋转变的开端期。本文选择贺铸和周邦彦这一对曾被并称为“贺周”的词人,以他们的创作为中心,联系北宋后期的文化现象,具体地展示和说明了词走向南宋的过程。全文共分六章。第一章为绪论,说明本文的研究对象、意义、方法、思路,以及可资借鉴的相关研究成果等。本章认为,南宋词风发端于北宋后期,这说明北宋后期的“精神气候”中,已经具备了适合这种词风生存发展的文化因子。而在以往的研究中,对于这一点关注不够充分,存在着重南宋轻北宋、重时代轻地域、重群体轻个体等倾向。因此,本文把词风走向南宋的起点确定在北宋熙宁年间,采用以两个代表性的词人为中心的“微观模式”,结合时代和地域因素,去考察词在北宋后期的演变。第二章论析进入创作期之前的贺、周站在怎样一个文化起点上,地域和时代方面有哪些文化因素将会对他们的成长和创作产生较大的影响。在这一章中,首先分析了贺、周两人的家世、地域与他们的性格气质之间的联系,确定他们分别有着比较典型的北方文化和南方文化背景；其次,对他们在童年和少年时期所可能接触到的政治文化、社会风尚与文学思潮进行了论述。第三章论析贺、周的“词心”与北宋后期政治文化之间的关系。北宋后期,新旧党争贯穿始终,极大地影响了士人的精神风貌和政治心态,并使他们在文学创作中的心理发生相应的变化。本章以党争的几个发展阶段为线索,观察和分析贺、周在当时的政治环境中的进退出处及其在词中的反映。第四章论析贺、周的“词品”与北宋后期的社会风尚之间的关系。本章认为,雅与俗是唐宋词的两种基本品格,唐宋词的整体发展趋势是由俗而雅,但是在不同时期,“雅”的涵义并不相同。因此,在唐宋词史上,存在着多种不同类型的“雅词”。而北宋后期作为词风由北入南的转变期,呈现出多种“雅词”并存的复杂状态。这些“雅词”的背后,又各有相应的社会风尚的支持。本章以贺、周的词为重点,对此进行观察和讨论。第五章论析贺、周的“词体”与北宋后期的文学思潮之间的关系,着重探讨两宋词在审美特征上的“唐音"与“宋调”之别,以及贺、周在这一转变过程中的表现。北宋后期宋代的文学思想臻于成熟,宋诗形成了自家面目,而在词的领域中,同样也逐渐表现出“宋调"的特色：它的内在质素由“缘情”而发转向“写意”为主,外在风貌由自然浑成转向人工雕琢。贺、周的创作共同体现了这种转变的趋势,但比较而言,贺更多“唐音”,周更多“宋调”。第六章为余论,结合文化环境之变解读贺、周词在南宋的接受史。另外,通过与晚唐诗人“小李杜”的比较,评定贺、周在文学史、文化史上的地位。更多还原

【Abstract】 Tang-Song Ci has achieved a full development in the late period of the Nortern Song Dynasty, a period that also marks the commencement of Ci finding its ground in the Southern Song Dynasty. This paper will give a concrete illustration of the development process of Ci in the Southern Song Dynasty by analysing the works of He Zhu and Zhou Bangyan, two composers of Ci, and connecting the cultural phenomena in the late period of the Northern Song Dynasty. The whole passage will be discussed through six chapters.The first chapter is the introduction to introduce the study objects, significances, methods, conceptions as well as some relevant research findings that can be used for reference etc. This paper holds the view that the development of Ci in the Southern Song Dynasty can be stemmed from the late period of the Northern Song Dynasty, when the culural elements which is conducive to the existance and development of Ci are among the current mainstream of thinking. As to the previous researches, there exists such an inclination, that is attaching more attention on the Southern Song Dynasty than the Nortern Song Dynasty, age than region and groups than individuals. Therefore, this paper takes the Xi Ning period of the Northern Song Dynasty as the commencement of the development of Ci in the Southern Song Dynasty and investigates the evolution of Ci in the late period of the Northern Song Dynasty through the microscopic mode of analysing two representative composers of Ci and by combining with the age and region factors.The second chapter will discuss the start points on which He Zhu and Zhou Bangyan stand before they begin to compose Ci, and some cultural factors from the aspects of age and region that will have a greater influence on their growth and creations. In this chapter, at first we have analysed the connections of their family background and living region to their personal dispositions and made a conclusion that one of them gets the typical northern cultural background while the other has the typical southern cultural bakground. And then, we have discussed the political culture, social customs and literature currents which are probably approachable during their childhood and youngsterhood.The third chapter will discuss the relations between Ci Xin, the truly feelings of the composer implied in Ci, and political culture in the late period of the Northern Song Dynasty, when the conflicts between the new and old political parties has existed throughout the whole period, which as a result, tremendously affected the feudal intellectuals’ spirits and political intention and also caused a psychological change accordingly in their literature writtings. This chapter takes the several phases of the parties’ conflicts as a clue to observe and analyse their promotion or demotion in their official career by relating to the current political environment and its reflection in Ci.The fourth chapter will discuss the relations between Ci Pin (indicating the features of Ci) of He Zhu and Zhou Bangyan and the social customs. Elegance and vulgarity are the two basic features of Tang-Song Ci and its overall trend is to develop from vulgarity into elegance, but different age has its own definition of elegance. So, there are many different kinds of elegance words in the history of Tang-Song Ci. And, the late period of the Northern Song Dynasty, as a transition period of Ci developing from the North to the South., has presented a complicated state of the coexistance of several elegance words, behind which there are respective supportives of social customs. This paper will focus on Ci of He Zhu and Zhou Bangyan to observe and discuss such a phenomenum.The fifth chapter will discuss the relations between Ci Ti, that is the style of Ci, and the literature currents in the late period of the Northern Song Dynasty and emphasize the differrence between the style of Tang Ci and Song Ci as well as the representation of He-Zhou during this transition period. In the late period of the Northern Song Dynasty, the literature thoughts has become mature, poetry of the Song Dynasty owns its own features, while in the field of Ci, there appears the feature of the style of Song:Its inner nature has changed to the expressive of feelings and the external style has also transfered from natural features to the artificial ones. And both of them has embodied such transition trend, but comparatively speaking, He Zhu possesses more of the style of Tang while Zhou Bangyan the style of Song.The sixth chapter will discuss the reception history of Ci written by He Zhu and Zhou Bangyan in the Southern Song Dynasty with reference to cultural environment, in addition, assess their position in the literature history by comparing them with Li Shangyin and Du Mu, poets of the late Tang Dnasty.更多还原