【作者】 宁夏江；

【导师】 魏中林；

【作者基本信息】 暨南大学 ， 中国古代文学， 2009， 博士

【摘要】 在中国古典诗学的形成和发展当中,与“性情化”相对平行,始终存在一个“学问化”过程,这一过程的基本趋向是以踵事增华的方式由弱渐强,并在诗歌创作和诗学理论批评两个方面展开。清代是学术集大成的一代,也是诗学集大成的一代,清诗的学问化倾向比先前任何一个朝代都明显,对性情与学问的争论也最为完备和激烈。有清一代士子“六经三史诸子别集之书,填塞腹笥”(钱谦益《黄孝翼蟫窠集序》),“自诸经传疏,以及史传之考订,金石文字之爬梳,皆贯彻洋溢于其诗。”(翁方纲《复初斋诗集序》)大量以朴学入诗,大规模出现以学术入诗的情况。诗学理论集中于性情与学问之间纠缠相争,一是不排斥以学问为诗,争论的焦点是以学问为主还是以性情为主;二是不排斥学问,争论的焦点是如何以学入诗,是在诗中不直接露学,还是在诗中直接引入学问。文章绪论部分对古典诗学关于性情与学问的争论做了简概的回顾,对清末民初至今关于清诗学问化问题的研究成果进行了总结,归结出已取得的研究成果,也指出对清诗学问化问题的研究一直是个争论未平的诗学话题,还有许多问题有待于做进一步的探讨。第一章力图回答古典诗歌学问化的表现、古典诗歌学问化的历程以及古典诗歌学问化的原因。第二章探讨了清代繁盛的学术氛围对清诗学问化的影响,清诗学问化被强化的原因。第三章在学人之诗与诗人之诗的对比中着重探讨了学人之诗的内涵、特征、审美和学人之诗研究的缺位。同时架构了从三个方面对清诗学问化问题进行研究的思路,即清代诗人之诗与学问化、清代学人之诗与学问化、清代学究之诗与学问化。绪论和前三章可以看作是文章的总论部分,为文章后面的内容做了理论铺垫和思路导向。第四章分析了清代诗人之诗学问化的表现,钱谦益和袁枚基本上代表了清代诗人之诗学问化的两种不同的倾向:钱谦益的诗歌博学厚重,大量引入学问;袁枚的诗歌则化学为诗,不在诗中直接露学。但他们又代表了清代诗人共同的趋向------广学博览,学问性情合一,只是一个为力挽晚明空疏不学更强调学问,一个力纠乾嘉考据诗风而更强调性情。第五章分析了清代学人之诗的学问化的表现,这一章分为上、中、下三篇,上篇分析“诗”“学”兼擅了学人之诗,以顾炎武、黄宗羲、朱彝尊的诗歌为代表;中篇分析了不以诗名的学人之诗,以钱大昕的诗歌为代表;下篇分析了以诗而名的学人之诗,以查慎行、王士祯、杭世骏、厉鹗的诗歌为代表。第六章分析了清代学究之诗的学问化表现,学究之诗好以韵语形式来做学术文章,其诗歌很大部分有诗形而无诗质,他们不仅是以学问为诗,而且诗为学作,可以说是把以学问为诗发展到了极端。这类诗人以汪师韩、翁方纲的诗歌为代表。第四章、第五章、第六章可以看作是文章的分论部分,基本上呈现出清诗学问化踵事增华的趋向。第七章也分为上、中、下三篇。上篇分析了道、咸宋诗派和同光体诗派,他们以学为诗实际上代表着古典诗歌学问化之路的嗣响;中篇分析了自鸦片战争到清末中国古典诗歌由于时事的变迁导致传统学术的新变以及受西学东渐的影响,发生了新变,一部分诗人开始以“新学”(西学)入诗,这部分诗人的诗歌看起来是“学人之诗”的新版,体现出古典诗歌的新变。下篇指出新文化运动的开展,整体上采用了白话语系,废止了文言语系。胡适提出的“八不主义”,反对用事用典,主张“作诗如说话”,标志着清代学人之诗总体上的终结。第七章是全文的收束,反映出古典诗歌学问化之路并不是简单的线性结束,呈现出一种末势反弹、褪变求新和僵而不“死”的多元化状态。更多还原

【Abstract】 In the course of the development of Chinese classical poetry,there are two characteristics,one is emotionality,the other is knowledgeability.Knowledgeability concealed at first,then became more and more clear.Learning in Qing Dynasty is of great accomplishment,so is the poetry.Knowledgeability of poetry in Qing Dynasty is more distinct than in any other times.The argument of the relation between emotionality and knowledgeability focuses on two points,one is which is more important,emotionality or knowledgeability.The other is whether knowledge in poetry should be concealed or revealed.The exordium of the dissertation reviews the dispute on the relation of emotionality and knowledgeability,and summarizes the research achievement on the thesis.There is still much limit in the research.The first chapter answers the manifestation,course and reason of the knowledgeability of Chinese classical poetry.The second chapter makes a analysis on the influence of the flourishing learning on the knowledgeability of poetry in Qing Dynasty and the reason why the knowledgeability of poetry in Qing Dynasty is strengthened.The third chapter answers the implication and the characteristic of the poetry by learner,and points out that the research on the poetry by learner is too inadequate.In this chapter,a train of thought how to start the research on knowledgeability of poetry in Qing Dynasty is work out.The train is made up of three parts:poetry by poet and the knowledgeability,poetry by learner and the knowledgeability,poetry by pedant and the knowledgeability.The exordium and the three chapters can be look upon as the introduction of the dissertation,and make theoretical foundation and train of thought for the following contention.The fourth chapter makes a analysis on the manifestation of the knowledgeability of the poetry by poet.The knowledgeability of the poetry by Qian- Qianyi(钱谦益) and the poetry by Yuan-mei(袁枚) is of great representativeness,the poetry by Qian- Qianyi(钱谦益)is of knowledgeable.The knowledgeability of the poetry by Yuan-mei(袁枚) conceals.There is difference between the poetry by Qian- Qianyi (钱谦益) and the poetry by Yuan-mei(袁枚),but they had the same opinion that knowledge and the emotion must combine together in the poetry.The fifth chapter makes a analysis on the manifestation of the knowledgeability of the poetry by learner.This chapter is made up by 3 sections,the 1st section makes a analysis on the poetry by the leamer who is expert both in leaming and in poetry.The poetry by Gu-yanwu(顾炎武),Huang-zongxi(黄宗羲)and Zhu-yizhun(朱彝尊) is of representativeness.The 2nd section makes a analysis on the poetry by the learner who are well known by their learning.Qian-Daxin(钱大昕) is of representativeness.The 3rd section makes a analysis on the poetry by the learner who are well known by their poetry.Zha-Shenxing(查慎行),wang-Shizhen(王士祯),Hang-Shijun(杭世骏) and li-E(厉鹗) are of representativeness.The sixth chapter makes a analysis on the manifestation of the knowledgeability of the poetry by pedant.The poetry by pedant is just like learning article written in rhymes.They not only introduce knowledge into their poetry,but also write poetry for their learning.Their poetry is extreme for knowledgeability.Wang-Shihan(汪师韩) and Weng-Fanggang(翁方纲) are of representativeness.The forth,fifth and sixth chapter can be looked upon the concrete elaboration on the thesis,and reflect that the knowledgeability of the poetry in Qing Dynasty is shengthened.The seventh chapter makes a analysis on the Dao-Xian Song-Potry School and Tongguangti Poetry School.They introduce knowledge into their poetry which actually marks the last course of the knowledgeability of Chinese classical poetry. From Opium wars to the end of Qing Dynasty,There are changes in Chinese classical poetry for the influence of learning in western coumries on China.Some poet started mtroduce knowledge and learning in western countries into Chinese Classical poetry and their poetry looks like the new form of poetry by learner.With the development of the New Culture Movement(from 1915 to 1919),Hu-Shi(胡适) put forward propositions such as "Eight Nots" and "writing poetry just like saying",which means the end of knowledgeability of Chinese classical poetry.The seventh charptet is the end of the dissertation which reflects that the end of the development of knowledgeability of classical poetry is not simple and immediate, but repeatable and changeable.更多还原