【作者】 周永仙；

【导师】 田耕滋；

【作者基本信息】 陕西理工学院 ， 中国古代文学， 2011， 硕士

【摘要】 在儒家诗学理论占主导地位的中国古代文论中,屈骚也不例外被披上儒学的外衣,在历代阐释中被儒学化。屈骚作品因其特殊的艺术表现手法,呈现出不同于儒、道、禅的艺术之美。从上世纪末开始,人们逐渐认识到屈骚别样的美学特质,并试图从诗学角度来解读屈骚,以期构建相应的诗学理论体系,使屈骚诗学系统化、理论化、科学化,从而让古老的文学重新焕发生机。屈骚解读可以从多方面、多角度来入手,突出的自我形象就是其中之一。自古以来在研究屈骚自我形象方面,落脚点都偏重于屈原个人人格魅力的解读,而并非其诗学理论内涵的挖掘。本文就以屈骚突出的“自我形象”为切入点,着眼于艺术文本,分三章层层递进,来研究解读屈骚有我之境诗学理论的形成及其诗学意蕴。首先,在各种意象组成的屈骚艺术世界中,屈骚“自我”形象表现得直白而张扬,无论是文法上、形象上、还是“自我”对艺术世界的主载上,都彰显了“自我”的存在,作品感情充沛,想象丰富,惊采绝艳,难于并能。其次,在艺术世界中,“自我”是绝对的、压倒一切的,以我观物,物只是作者抒发自我情思的一种手段和载体,作品基调雄浑豪迈、瑰丽壮美,形成典型的“有我之境”。这种艺术特征不同于儒家的温柔敦厚,也不同道家的清静无为,它展示给我们的美是感性的、强烈的、悲壮的,因而自成高格。探索屈骚这种典型的“有我之境”,虽然只触及了屈骚诗学理论构建中的冰山一角,但却显示了屈骚不同于儒家“中和”之美、也不同于道家“澄明”之境的另类之美。这种“有我之境”高扬着个体生命意识,标志人类着文学和审美意识开始觉醒,同时,这种“有我之境”中,突出的“自我”形象显得更加孤独而悲壮,开创了中国古典悲剧文学的先河。更多还原

【Abstract】 Confucian poetics has played a dominant role in the theoretical system of the ancient Chinese literature, Qu-Sao was under the cloak of Confucian, naturally. It has interpreted in terms of Confucian. But, from the end of last century, people gradually realized the beauty of Qu-sao which is different from Confucianism, Daoism, and Buddhism by the particular means of artistic expression, and try to interpret Qu-sao from the viewpoint of poetics, so can set a systematize, theorize and scientific system of poetics.Although Qu-sao can be explain in different angles one of which is self-image, the destination is personality glamour instead of poetics connotation. This thesis takes self-image as the breakthrough point to interpret the formation of self-realm of Qu-sao poetics and the means in three chapters. Firstly, Quyuan’s workings were praised for literature images, which were tattooed across our hearts in the way that senses experience them. In the art world consisting of all kinds of images, self-image is so highlighted, secondly, self-image in the art world is dominant, the images are assistant, which are means to express author’s emotion. So the note of Qu-sao is strong, heroic, magnificent, beautiful, which developed typical self-realm.The protagonist bestirred in the art word, expressing his pursuing dreams fervors, riotously, freely. It was so self-centered! Follow the protagonist, we can read between the line of ideal and reality, subjectivity and objectivity, nothingness and existence. The very strong ego reflected other ones’self-awareness as considered self, protagonist was so lonely, works was full of emotional. In fact, text and life experience collectively indicate that the essence of the emotional is a stream of breath of life. Furthermore, emotional is the soul of realm then, the realm of Qu-sao works do can be defined as self-realm indeed. The lyrical way of Qu-sao’s conspicuous personality is very different from chanting masses’temperament of Shijing. Taking outstanding self-image as key point, the article mainly elaborated how the self-realm was being, and its poetics implication.更多还原