【作者】 陈斌；

【导师】 陈庆元；

【作者基本信息】 福建师范大学 ， 中国古代文学， 2007， 博士

【摘要】 本文动态考察明代中古诗歌批评的演进趋势，全文采取历史演进与主要问题揭示相结合的方式，选取明代中古诗歌批评不同时期的主导现象进行翔实分析，力求通过史实层面与问题层面的细致梳理，突出其主要理论意义。本文认为视角的冲突或互补构成了明代中古诗歌批评发展的内在矛盾，并引起了观念的相应变迁，从而推动批评的演进。故围绕着诗史观、审美倾向及话语体系的差异，可将明代中古诗歌批评的发展标界出三次明显的转折，也是批评向多角度、多层面掘进的表现：第一次表现为由明初重性理向前七子重感情的审美转换。明前期中古诗歌批评以传统的世变观与重尚理道的理学视角为主，推崇“治世之音”与淳和雅正之美，以陶诗为最高典范。前七子虽对明前期崇复古思潮有所继承，但他们追求情志慷慨、气格浑沦的创作精神，更强调对汉魏诗歌强烈抒情传统的体认，不仅对汉魏诗歌的美学精神作了重新阐述，并建立了以汉魏为典范的古诗创作观及批评观。第二次为前七子与六朝派在古体取向上的宗汉魏与尚六朝之分。主要体现为古体审美风格选择上的差异，七子派尚浑朴、重气格与六朝派尚绮丽、重风神，均各截取了古体传统的某一历史时期作为师法范型，两者的对立既将各自的理论引向深入，又揭示了中古诗歌审美风貌的多层性，也一定程度反映了接受主体的文学地域差异。第三次主要为重辨体的形式批评、重性情的主体批评及重意境的神韵批评这三种不同批评话语间的并出。辨体批评是七子派中古诗论中最活跃的部分。这种以“宗汉魏”为法则，祖绍《诗品》，将传统风格学、源流学及品鉴论予以整合的形式批评体系，把中古诗歌艺术形式批评推向了极至。性灵思潮影响下的竟陵派致力于对中古诗人心灵世界的体会，表现出颠覆《选》诗传统、崇尚偏奇的独特诗史观和审美个性，神韵说则倾心于对中古诗歌韵外之致的感悟，它们均建立了各自完整的批评体系。诸说立足点不同，从不同角度透示出中古诗歌包蕴的不同美学特征，开拓了中古诗歌批评由表及里的多维视角，使明代中古诗歌批评获得了某种意义上的自足与完善。更多还原

【Abstract】 The article investigated the historical courses of the criticism of Ming Dynasty on thepoetry of Han, Wei and Six Dynasties, expounded upon their main innovation of theoryand meanings, and the characteristic and achievement of the arrangement of poeticdocuments emphatically. The article also strived for presenting their developing maintendency clearly and illustrated its scholarly values and meanings. Combining with thebig background of philosophic thoughts and literary trends of Ming Dynasty and bytaking the way of Combining historical evolution and the announcement of main problem,the whole article carried out concrete and true investigation and summary on thecharacteristic of context, esthetic orientation and poetic conceptions of the criticism of thepoetry of Han, Wei and Six Dynasties in different periods of Ming Dynasty. The articlethought that by investigating into the poetic historical standpoint and esthetic orientationand critical utterance and the logical relations between them we could find that thecriticism of Ming Dynasty on the poetry of Han, Wei and Six Dynasties presented threeobvious key points, which was also the manifestation of poetic criticism penetrating intoseveral perspectives and many levels.The first manifestation was the emotional esthetic turn from the Neo-Confucianism inthe early years of Ming Dynasty to Pre-QiZi. In the early years of Ming Dynasty, thecriticism of the poetry of Han, Wei and Six Dynasties applied the theory of literarychanging with the era and the visual angle of Neo-Confucianism mainly and praised thebeauty of insipidness and the poems of Tao Yuanming. Different from them, Pre-QiZichased lofty style and emphasized the learning toward the poetic tradition of Han, Wei ofexpressing strong emotions. They made new explanation on the esthetic minds of Han,Wei poetry and established the conceptions creation and criticism which took the poetryof Han, Wei as models.The second manifestation was the confliction between Pre-QiZi and the School of SixDynasties around learning the poetry of Han, Wei and Six Dynasties, which was stirredmainly by their differences in esthetic tastes. The School of Pre-Qizi admired loftinessand vigorousness while the School of Six Dynasties admired gorgeousness and exquisition. The disputes of them not only promulgated the profundity the poetry of Han,Wei and Six Dynasties, but also reflected the differences of literary regions of receptor tosome extent.The third manifestation is the coexistence of three different critical utterances, that was:the criticism of distinguish forms、the subject criticism and the Shenyun criticism wasthe most active part in the School of QiZi’s criticism about the poetry of Han, Wei and SixDynasties. The critical system of poetic form inherited Shih-p’in and combined traditionalStylistics, Crenologie and the judgment theory together and took the poetry of Han, Weias the standard pushed the criticisms of artistic form of the poetry of Han, Wei and SixDynasties to the farthest point. The School of Jingling’s criticism the poetry of Han, Weiand Six Dynasties under the influence of Xingling trend devoted itself to theunderstanding of poets’ inner world and showed the specific personality of overturningthe poetic tradition of Wen hsuan and admiring strangeness. The theory of Shenyundevoted itself to the comprehension of the charming the poetry of Six Dynasties. From thedifferent perspectives, they all promulgated the esthetic characteristics the poetry of Han,Wei and Six Dynasties deeply and developed many trends about the poetic criticisms of it.Furthermore, the confliction and the change including the mixing each time made thepoetic researches on the poetry of Han, Wei and Six Dynasties in Ming Dynasty achieveperfection on some meanings. It echoed with different kinds arranging researches onpoetic documents of Han, Wei and Six Dynasties and pushed forward the development ofpoetic criticisms of the poetry of Han, Wei and Six Dynasties all-round.更多还原