【作者】 祝云珠；

【导师】 张国庆；

【作者基本信息】 云南大学 ， 文艺学， 2014， 博士

【摘要】 “雅”是中国文论中的重要范畴,具有独特的内涵和鲜明的民族特色,在词曲、诗文、小说等文体评论中占有重要地位。词最初是作为一种通俗的大众文艺出现的,为了改变其俗艳、卑微的地位,其雅化的要求和趋势大于诗文等文体,从唐五代直至晚清,词论者大多以“雅”为尚。而现今研究者对词论中“雅”的研究多局限在宋代,尤其是南宋,或者多是对雅词流派、雅词创作的研究,对词论中“雅”的发展嬗变及其内在深厚而复杂的内涵,则很少有人研究,把“雅”放在词论中进行系统、深入、全面地进行探讨的,更是阙如。本文主要从动态和静态两个层面对词论中的尊“雅”观进行研究：一是从纵向即动态层面探讨词论尊“雅”观的发展、嬗变的历史,“雅”在各个时代所呈现出的面貌；二是从横向即静态层面探讨尊“雅”观的哲学基础,探讨词论中“雅”之风格要求和创作特点以及“雅”与相关的诸范畴之间的关系问题。本文共分七个部分进行论述。导言部分主要综述词论之“雅”的研究情况并说明本选题的由来,阐述研究中国古典词论尊“雅”观的逻辑起点,并阐明本文研究的方法和思路。第一章主要探讨尊“雅”观的形成和嬗变。中国古典词论尊“雅”观萌芽于唐五代时期,是尚文雅的社会文化思想和“清雅”的审美趣尚的产物,受到过儒家思想明显的影响。宋代是古典词论尊“雅”观树立和发展的时期,在内敛的士风的刺激下,词论尊“雅”观成为这一时期的主流意识,词体在创作上完成了由“空中语”到“心中事”的转变。“雅”之内涵逐渐丰富,出现本色之雅论和诗化之雅论这样两种既相联系又有区别的尊“雅”观。在“清”与“浑”的此消彼长中,“清空”成为得“雅”之旨的典范,受到推崇并得以发展。此一时期,词论尊“雅”观的思想基础以儒家思想为主,道释为辅。元明时期,追求真性情,反对礼法的束缚和压制,在“宁为大雅罪人”等等思想的影响下,词论中的尊“雅”观逐渐丧失了其主流地位,且为当时正统的审美意识所排斥,词论中的尊“雅”观念在与世风的冲击和磨合中得以延续和凝定,“尚雅而不避俗”成为一时典范。清代是词体的“中兴”时期,尊“雅”观得以开拓和深化。倡雅词论者在方法论与思想内涵等方面对“雅”进行深入而系统的阐释。第二章主要探讨了“雅”这一审美范畴的义界、内涵及其内在矛盾。“雅”在义界上有广义和狭义之分,而作为词论中的“雅”,历代词论者所提倡的“雅”之内涵则更为具体和深厚。词论中的尊“雅”观涉及三个层面：在词体创作层面要求音协律合,字琢句炼,才高意新,创作者人品高洁；在词体风格论层面,以“雅”为审美要求,强调意高、趣雅；在思想层面上是以儒家思想为主,以道、释为辅。词论之“雅”,以“中”为内在尺度,以“礼”为外在要求,在情、性、志、韵等的变化组合中形成矛盾张力。第三章主要论述古典词论中“雅”的根本思想精神、哲学辩证法。在思想上,词论中“雅”的根本思想精神是儒家的诗教原则、复古与崇正思想等等,而道家的“清”、“无”、自由不拘、超然出尘和佛家的“空”、“圆融无碍”等精神对词论尊“雅”观有很深的影响。在方法上,词论尊“雅”观所体现出的艺术辩证法之“中”,更多地体现为折中兼取的方法和“中和之美”的艺术辩证法。第四章以词论中的主张和典型雅词为例,阐述了“雅”的主要风格特点。辨析了清雅与闲雅,雅正与骚雅,醇雅与儒雅等等及其与一般概念上的“雅”之风格的区别,与同时期相关美学范畴的联系与区别,最后论及词论尊“雅”观中的风格要求和创作实践之间的关系。第五章主要探讨词论尊“雅”观的意义。词论尊“雅”观具有较高的理论价值与指导实践的意义。其理论价值主要表现在具有鲜明的时代性与强烈的现实针对性和树立了雅词的典范。在对实践的指导方面,词体的内容得到扩大,词境、词品得以提升,词体在认同规范的同时,实现了自我地位的提升。词论尊“雅”观对诗学具有丰富和深化的作用,对其他文体也有很大的影响。结语部分主要是对词论尊“雅”观的形成与嬗变、内涵及生成、思想与方法、风格、意义等诸方面加以总结。总起来看,词论尊“雅”观借助于传统文化和诗学话语来建构词学批评体系,其对词学理论史的建构、丰富和深化作用是不可忽视的。更多还原

【Abstract】 "Elegance" is an important category of Chinese literary theory, which has its own unique and distinctive ethnic characteristics, and occupies an important position in the lyrics, poetry, novels and other literary criticism. The lyric was originally used as a popular literature appeared, in order to change its flashy, humble position, its elegant requirement and trent more than poetry style. From the Tang and Five Dynasty until the late Qing Dynasty, the lyric critics mostly advocate "elegance". But the contemporary researchers on the theory of "elegance" is limited in the Song Dynasty, especially in the Southern Song Dynasty, or is the study of the elegant lyric genre, Elegant lyric creation. The development of theory of the "Elegance" and the connotation of the deep and complex, there were a few of researches, the "Elegance" on the theory of system, is the lack of, in-depth, comprehensive study. This paper mainly in the face from the dynamic and static two layer theory in respect of "elegance" concept:one is from the longitudinal dynamic aspects of lyric advocating "elegance" concept development, evolution of history,"elegance" shown in every era appearance; the other is from the horizontal and is the philosophical basis of the static level respect the "elegance" concept, to explore the theory of "elegance" style and creation characteristics and the question of the relationship between "elegance" and related categories. This paper consists of seven parts to study on the introduction of the theory of "elegance" concept, and explain the origin of this topic, the logical starting point for the study of China classical theory respect "elegance" concept,and expounds the methods and ideas of this paper.The first chapter mainly discusses the formation and evolution of the concept of "elegance" statue. Chinese classical theory respect "elegance" concept originated in the Tang and the Five Dynasty, between this period, the social and cultural thought of "elegance", the elegant aesthetic taste of the product produce the lyric theory of "elegance", which influenced clearly by Confucian ideas. The Song Dynasty is the classical theory of "elegance" respect which set up and develop. Under the introverted wind stimulation, the theory of "elegance" respect concept into the mainstream consciousness in this period, the lyric creation completed by the "air" to "the heart"."Elegance" has rich connotation, elegant appearance color theory and poetic elegance on two such contact already distinguishing statue of "elegance" view. In this period, the ideological foundation theory respect "elegance" view mainly by Confucianism, Taoism and Buddhism as. Yuan and Ming Dynasty, the pursuit of true disposition, restraint against etiquette and pressing, in "the guilty person of elegance" and so on ideology, theory of "elegance" repect concept has gradually lost its dominant position, and the exclusion of aesthetic consciousness of the orthodox theory of the statue, in the concept of "elegance" continuity and set in an social impact and the run in,"elegance but not avoid vulgar" become a model. Qing Dynasty in the period of "resurgence","elegance" respect to expand and deepen. The theory of advocating elegance in methodology and ideological connotation in "system, in-depth interpretation".The second chapter mainly discusses the "elegance" this aesthetic category definition, connotation and its internal contradictions,"elegance" is more specific and profoud. The theory of "elegance" respect concept involves three levels:in the creation of lyric level requirement’s law, the character to carve the sentence to a new high, refined, creator of noble and graceful; in the style of lyric theory,with "elegance" as the aesthetic requirements, that emphasize high content, and elegant taste; in the ideological level is based on Confucian thought, to supplement, release. The theory of "elegance","in" into the inner scale, took "courtesy" as the external demand, formed the contradiction tension changes in the situation, combined,ambition, rhyme and so on.The third chapter discusses the classical theory of "elegance" fundamental ideological and spiritual, philosophical dialectics. In thought, lyric in the "elegance" the basic idea is the spirit of Confucian poem teaching principle, retro and advocating orthodox, Taoism "clear","no", footloose and unearthly and Buddhism’s "empty","unobstructed harmony" spirit of the theory of "elegance" concept of honour deep impact. In the method, the theory of "elegance" respect concept reflects the artistic dialectics.The fourth chapter to the lyric in the position and the typical elegant lyric as the example, elaborated "the main style and elegance". Analysis of the elegant and graceful, elegant and elegance, style elegance and refined, the difference and the general concept of "elegance", the relation and the difference between related with the same period in aesthetics, the relationship between style and the lyric finally respect "elegance" concept and creative practice.The fifth chapter mainly discusses the theory of "elegance" meaning of the concept of respect. The theory of "elegance" respect theory has high value and practical significance. Its theoretical value is mainly manifested in which the distinct characteristics of the times and the reality of strong pertinence and set a good example for the lyric, In terms of guidance for practice, the content to be expanded, the lyric taste can be improved, the lyric in the identification standard at the same time, the realization of self promotion.The conclusion part is mainly the theory of "elegance" to honour concept formation and evolution, connotation and formation, thought and method, style, significance and other aspects to summarize. In general, the theory of "elegance" view with respect to traditional culture and Poetics Discourse to construct the criticism of lyric system, the lyric construction theory history, enrich and deepen the role can not be ignored.更多还原