【作者】 李慧芳；

【导师】 林家骊；

【作者基本信息】 浙江大学 ， 中国古代文学， 2009， 博士

【摘要】 科学的文体概念应当是指一定的话语秩序构成的文本体式和文本风格的复合体。文体的形式有可能随着时代和语境的变化而变化,也有可能因为别的因素而在当时没有呈现出原貌,因此文体的界定要考虑时代因素。从汉代已经确知为骚体的作品中提炼共性,并以此作为基本特征去界定汉代骚体的概念,是一种可行的方法。《楚辞章句》中的汉人作品是确定汉代骚体的基本依据,通过对这些作品的分析得出结论：以“兮”字句为主要句式的作品在体式上属于汉代骚体作品。骚体和楚辞体两个概念或许存在差异。汉代骚体诗包括楚歌、诗及以辞、曲、操、引等命名的乐府古辞。汉代骚体赋主要包括《楚辞章句》内的汉人作品和《章句》外以赋名篇的骚体作品。骚散相间体赋不能称为骚体。黄老思想中含有道、法两家成分,黄老思想在汉初因统治者提倡而大盛,并以此奠定其在民间的生存基础。黄老思想自武帝而后地位有所下降,其思想呈现法消道长的趋势,这是汉代骚体作品创作的思想基础；在大一统的帝国体制下,知识分子承受了巨大思想压力,主要表现在四个方面：汉初儒生因受意识形态压制而产生的痛苦、诸王宾客因诸侯国与中央政权的矛盾而产生的惧祸心理、知识分子对专制政治的畏惧、在宦官外戚乱政下产生的不安全感。这些压力一旦受到某种刺激就会爆发出来,成为骚体创作的直接内因。而汉人思想中已经存在的道家因素使创作出来的骚体作品同时具有楚骚的悲怨和道家的无为相结合的特质。汉代骚体诗赋的抒情目的主要包括达幽怨、通讽喻、表称颂三种,其中达幽怨一类又可细分为述不平、哀无常、诉情思三种,并在抒情中体现出述志倾向。汉代骚体诗赋在继承屈骚悲怨传统的同时表现出三点新趋势：抒情范围拓宽到对帝王功臣的称颂及对自然景物的鉴赏等方面；情感中心由君国转向己身；屈骚中主人公对自我和社会的双重固持精神则几乎不见踪影,从而使汉骚抒情气势转向弱化。汉代骚体诗赋的文体艺术独特性主要体现在体式和风格两方面。从体式上看,汉代骚体诗赋都呈现出动静并存的状态。就骚体诗而言,皇家骚体诗的楚歌体本色贯彻两汉始终,而文人骚体诗由散趋整；就骚体赋而言,《楚辞章句》中汉人作品体式相对严谨,而《楚辞章句》外的骚体赋句式呈现齐言与杂言此消彼长的动态发展趋势。另屈骚体式与先秦散文体式在汉代的传承和相互影响,促成了骚散相间体赋的产生、发展和发扬光大。风格又包括文风辞藻和美学理想两方面。骚体诗风以自然为主,融合优柔与典雅；骚体赋风以清雅为底蕴,以华丽文辞作点缀。综合骚体诗赋的美学理想来看,可知两汉美学思想继承了先秦楚骚美学的幽怨、道家美学的自然、儒家美学的中和,而使骚体诗赋呈现出以悲为美、以自然为美、以理为美的审美风尚。汉代骚体诗赋的发展轨迹呈现出复合性特征。汉代骚体诗赋与宋玉《九辩》情感上有共通,体式上有细微差别。汉以后的骚体作品体式上更转精致,情感上更趋世俗,体现出汉骚在屈骚流变史中的过渡作用。更多还原

【Abstract】 The concept of scientific style should refer to a complex whole which in certain order of discourse and be consisted of text body and text slyle. The literary style may change with the times and context change, it is also possible there was no showing of original appearance at that time, so the definition of style should refer to the age factors. It is a feasible methord that distill the common attribute from works of Sao ,and take this as Basic characters to define the Han Dynasty works of Sao type. It is the fundamental basis to determine the Han Dynasty works of Sao type from which created by the hans in "Chu Ci Zhang Ju", through the analysis of these works, we may draw the conclusion that: the works that take The "Xi" sentence as the main sentence belonging to the Han Dynasty works of Sao type. and put forward the issue that the two concept Sao and Chu Ci may be different. the Han Dynasty poetry of Sao type including Chu Ge, poetry, and the Yue Fu verse named after speech, music, gymnastics, citing,and so on. the Han Dynasty Fu of Sao type include works in "Chu Ci Zhang Ju" created by the Han writers,and works of Sao type which are named after Fu beside Chu Ci Zhang Ju. The style of Fu which Sao prose interphase free prose can not be called Sao Fu.Huang-Lao thought contained two components of Taoism and Legalism, It become prosperous in the early Han Dynasty because of the rulers promot, and thus lay the basis of survival in the folk. Huang-Lao thought retreat to the political second-line after Emperor Hanwu, in which the idea presented a Legalism back and Taoism forward trend, which is the ideological creation basis of the Han Dynasty poetry of Sao type. under the monarchy of Great Unification, the intellectuals have experienced tremendous mental pressure, mainly lies in four aspects:Confucian scholars’sufferings in early Han Dynasty which derive from the Suppression of the early Han ideology, duke guests’s disaster-frightened psychology arising from the contradictions between kingdoms and central government, the intellectuals’fear of despotism,the insecurity sense arising from political chaos created by the eunuch and exterior relatives. In the event of some kind of stimulus ,these pressures will burst forth and become the direct internal cause of Sao Fu creation. The existing Taoism elements bring out the combination of feature which contains both sadness of Chu Sao and inactions of Taoism.There are three kinds of main Lyric purpose in the Han Dynasty poetry & Fu of Sao type, including expressing hidden bitterness, reflecting allegory and showing praise, as far as expressing hidden bitterness, which can also subdivided into three categories:telling about injustice; bemoaning impermanence, pouring out affection,and reflected the tendency of expressing aspirationsin. the Han Dynasty poetry & Fu of Sao type displayed three new trend while inheriting sadness tradition in Qu Sao:the lyrical scope was widened to praising the emperor or hero’s tribute and the appreciation of natural scenery, etc.; emotional center shifted from the Emperor to self instead; The spirit of hero in Qu Sao which contain dual immobilization of self and society has almost disappeared, thus shifted the Han Sao lyrical momentum to weakening.The unique style art of the Han Dynasty poetry & Fu of Sao type is mainly reflected in two aspects: forms and genre. From the view point of forms, the Han Dynasty poetry & Fu of Sao type presented as dynamic and static co-existence state. As to the poetry of Sao type, the regnal one always hold the style of Chu poems through the Han Dynasty, but scholars one changed from dispersed to one-piece. As to the Fu of Sao type, the works style in "Chu Ci Zhang Ju" is strict relatively, the other ones except from "Chu Ci Zhang Ju" presented a dynamic development where the Qi prose and ragged prose were traded off. The Qu Sao style and the essay style of pre-Qin period were inherited and mutual influence in the Han dynasty, contributed to the generation, development and flourish of Sao prose alternating with free prose. Style also includes writing rhetoric and aesthetic ideals. The poetry of Sao type is major in natural, integrated with the blandly and elegant; The Fu of Sao type regard the fresh and elegant style as inside secret, and the gorgeous words as a decoration. Integrated the aesthetic ideals of poetry & Fu of Sao type,we can find that the aesthetic ideology of Han Dynasty inherited from there parts:the Sao works’sorrow style of pre-Qin period, the natural interest of Taoist aesthetics and the harmony interest of Confucian aesthetics,thereby the poetry & Fu of Sao type presented an aesthetic inerests regarded sorrow,nature and ration as beauty. The development of poetry & Fu of Sao type in Han Dynasty presents a composited characteristics.The poetry & Fu of Sao type in Han Dynasty and the Song Yu’s "Jiu Bian" have affection in common and style in differenc. The works of Sao type after Han Dynasty have become more and more exquisite in style, and secular in emotion,reflected the intermediate role of Han Dynasty works of Sao type in the flow and deformation history of Qu Sao.更多还原