【作者】 何国平；

【导师】 张节末；

【作者基本信息】 浙江大学 ， 文艺学， 2006， 博士

【副题名】以《古诗十九首》到玄言诗的审美经验变迁为中心

【摘要】 本文对山水诗前史的研究是以《古诗十九首》、行旅诗、公宴诗、游览诗、招隐诗、游仙诗与玄言诗七个诗类为基本考量对象。根据这七个诗类所呈现的审美经验，文章将这七个诗类分为四个演进阶段：《古诗十九首》与行旅诗、公宴诗与游览诗、招隐诗与游仙诗、玄言诗，以史为坐标纵深推进。 《古诗十九首》的生命悲情主义，导致其抒情方式是时间意识对空间物事的统率。从审美经验的嬗变来看，曹操行旅诗中所表现出的主体对自然的崇高审美体验，是一种新感性经验。而建安行旅诗的一般风格还是延续《古诗十九首》以来的哀愁抒情传统。徐干的行旅诗中出现连续的景句作为起兴句，这一新趋势在西晋被潘岳、陆机等诗人进一步推进，刻意经营局部景句，形成事—景—情三截结构式。 曹氏兄弟和建安七子们在西园的公宴诗和游览诗具有相同的游戏审美品格。在竹林举行宴乐活动的竹林七贤沉浸于本体世界，对外在自然界缺乏美学关怀。荀朂的《三月三日从华林园诗》体物方式中“观”与“想”平分，意外地开启了东晋三月三日禊游的诗歌传统。在解读潘岳、石崇有关金谷的作品中，我们发现此期园林表现渐近自然的审美取向。在以“三月三日”为主题的一系列后期游览诗中，抒情主体的自然山水取向更加明晰。 到招隐诗和游仙诗，自然在诗歌中展现其远离人寰陌生化和间距化的面向。招隐诗中主体基于想象的自然山林态度，经历由恐怖到隔膜到亲和再到适性的四度嬗变。游仙诗发展到郭璞实现仙境山林化，抒情主体将审美视野转向方内的自然山林水泽，并在一定程度上保留了仙界之缥缈灵动的非人间性。 玄言诗沿着游览诗渐近自然的路数走来，审美主体终于能置身大自然直观山水，呈现作为景的山水形态。由于作为诗歌本体的感性情感体验被理悟玄思所置换，审美主体的诗性体验被引向形而上的本体之悟，自然山水在玄言诗中成为阐发理思的充足媒介。于此，山水诗审美经验中的直观自然山水和情感消散的美学特质在玄言诗里得到实现。更多还原

【Abstract】 This study objects on pre-history of landscape poetry are summarized to 7 genres which include the 19 Ancient Poems （《古诗十九首》） , Errand Poetry, Feast Poetry, Traveling Poetry, Attracting Hermit Poetry, Wandering Fairyland Poetry and Metaphysical Poetry. Based on their presenting aesthetic experience, this dissertation divided the 7 genres into 4 evolving stages, they are the 1^st stage: the 19 Ancient Poems and Errand Poetry, the 2^nd stage : Feast Poetry and Traveling Poetry, the 3^rd stage: Attracting Hermit Poetry and Wandering Fairyland Poetry and the 4^th stage: Metaphysical Poetry.The life tragic mood in the 19 Ancient Poems brings its lyric pattern into characteristic that is time dominating space. Seeing from the aesthetic experience transformation, Caocao’s Errand Poetry is a kind of fresh sensibility experience, which manifests subject’s sublime aesthetic experience to the nature. Nevertheless, the general style of Jianan Errand Poetry is lasting the sorrowful lyric tradition from the 19 Ancient Poems. Being analogy and motif sentences, continuous scenery verses come forth in Xugan’s Errand Poetry. This new tendency was advanced by Panyue, Luji and so on, who deal in partial scenery verses painstakingly which form the affair-scenery-feeling three section structure.In West Garden（xiyuan）,Feast Poetry and Traveling Poetry from Caopi, Caozhi and the 7 bel-esprit of Jianan take on the similar aesthetic characteristic: game. The Seven Virtuous of Bamboo Forest who hold feast and make fun in bamboo forest, indulge in ontology world and thus are short of aesthetic care to the nature. The experiencing things mode that equal "watch" to "think" in Xunxu’s Traveling Poetry March 3^rd Following to Visit Huanlin Garden Poem（ 《三月三日从华林园诗》 ）, turn更多还原