【作者】 刘凤玲；

【导师】 张燕瑾；

【作者基本信息】 首都师范大学 ， 中国古代文学， 2008， 博士

【摘要】 元代散曲研究,是20世纪中国古代文学研究中的显学。在20世纪80年代中期之前,学者们的研究视角大都是利用各种相关文献去“剖析”元代散曲,所得结果是“客观”的、“今人”的,而不是“元代人的”。基于此,本论文立足元代散曲文献,着力探讨元代人对散曲的种种看法,即元代人的散曲观念。论文分上编“理论编”和下编“文献编”。上编由六章组成,主要解决了如下问题:第一章,首先钩稽了宋、金时期现存的市井俗曲的曲词,分析了元代散曲的源头特质,并指出这些源头特质对元代散曲观念的形成所具有的深刻影响。然后,从社会大环境和文学小环境两方面入手,勾勒了元代散曲观念的生成环境。第二、三章,主要分析元代散曲题材观念,这是本论文的主体部分之一。首先,经过精细的审核,将全部219位元代散曲作家,按照年辈和身份地位,划分出前、后两期和七个不同的作家群。接着,通过对现存的全部元代散曲作品的定量、分类统计,得到不同时期的各个作家群的题材倾向。最后,结合元代散曲作品情况和相关的题材理论,从分类、性质、风格等不同层面,阐述了元代散曲题材观念及其特点。这两章的创新点在于,运用统计法进行研究,打破了以往元代散曲研究中常用的“例证+说理分析”的模式,纠正了笼统把握中的一些错误认识,提出了自己的一些见解。第四章,回顾以往对元代散曲创作方法的研究,补释了“抖包袱”、赋式铺排、“诡喻”等实际存在、却少有人言的作法,指出元代散曲在作法上颇有创新。结合相关曲论,阐释元代人的不同散曲创作观念及其显著特点:文律并重、青睐巧体、兼容并包。第五章,分析了元代散曲的功用类型,梳理了元代人的不同功用观念。着重指出元代散曲在功能用途上经历了一个从娱乐消遣到承载文人心灵的发展过程;元代人的功用观念主要表现为娱嬉、寄托、与通政、抒情四个方面。其中,“娱嬉”说的提出,可以看作是中国诗歌功能观念的一个新发展。第六章,是钟嗣成《录鬼簿》散曲观念的个案研究。通过对钟嗣成其人的关注,对《录鬼簿》文本的细读,总结了钟嗣成的散曲观念,并指出了其散曲认识的贡献和不足。论文的下编由三章组成,全是文献方面的基础性工作。第七章,是针对20世纪元代散曲观念相关研究而做的详细综述。第八章,是针对元代所有的219个散曲作家而做的生平小传。第九章,考述了元代的重要散曲文献。特别要提出的是,元代散曲作家的个案研究,还有深入研究的必要;元代散曲审美观念、文体观念,与题材、创作、功用观念一样,也是非常值得研究的重要问题。惜乎本论文尚未能就此开展研究,若假以时日潜心深钻,必有所获。更多还原

【Abstract】 Yuan Sanqu, which is one of several focus research areas of Chinese ancient literature, is almost "analyzed" using related sources before 1980s. Their conclusions are always "objective" and "of the time", but are not from a view of Yuan dynasty’s. This paper will discuss how Yuan dynasty’s people view their Sanqu, i.e. Yuan Sanqu’s ideology.This paper is divided into two parts: the "theory" and the "source". The "theory" parts have six chapters, majority answered the following questions:Chapter 1, Firstly, words of pop songs of Song dynasty and Jin Dynasty, some sources can still be found today, are listed, Yuan Sanqu’s original character, which the author think they have a deeply influence to the formation of Yuan Sanqu’s ideology, is discussed. Then, the formation of environment of Sanqu’s ideology of Yuan dynasty’s are outlined both from the macro background - society and the micro background - literature.Chapter 2 and 3 discussed with Yuan Sanqu’s ideology, which is the center of this paper. Firstly, 219 authors of Yuan Sanqu are classified with carefully review, these authors are divided into early stage and later stage based on their era, seven groups based on their social position. Then, Theme preference of different stage is drawn from quantity statistics operation to all Yuan Sanqu writings that we can find today. Finally, the character and ideology of Yuan dynasty’s theme is discussed based on writings and related literature theory. The mainly difference from other researches is by using statistics, which break through the "proof + reasoning" mode, erect some fault come from their coarse grasping and got some different view.Chapter 4 and 5 try to resolve creation ideology and function ideology on the creation method, function classification and related Sanqu theory. In the creation side, Yuan Sanqu merged and absorbed many parts and also has innovation, in the function side, it developed from entertainment to a platform of express literati’s idea, and both have the character of diversity.Chapter 5 is a case study of Sanqu’s ideology of Yuan dynasty’s, focus on the writing“Lu Gui Bu”by Zhong Sicheng.The "source" part has 3 chapters. Chapter 7 is an overview of 20 century’s research of Yuan Sanqu. Chapter 8 is biographies of all the 219 Yuan Sanqu authors. Chapter 9 is an overview of Yuan Sanqu sources.By the way, taste and style are also important parts of Yuan Sanqu’s ideology. New results would have draw with more times.更多还原