【作者】 贺国强；

【导师】 马亚中；

【作者基本信息】 苏州大学 ， 中国古代文学， 2006， 博士

【摘要】 在近代诗歌史上,宋诗派是影响最大,持续时间最长的坚持传统的艺术流派,标志着整个清代学宋诗潮发展至高峰,古典诗歌在自身内部对新雅的艺术追求至此已趋极致。近代宋诗派的诗学理想和创作成就就及其缺陷,鲜活地说明古典诗歌在艺术体式与意理神韵两方面都必须摆脱自身的桎梏而获取新生。本文以近代宋诗派的渊源、形成、组织、发展、诗学理想、创作实绩为考察对象,力图通过对近代诗歌史上的“学宋”现象来考察近代诗发展中操持传统文化立场来挽转诗运的具体策略,以期进而深入探索中国古典诗歌流变的最后历程。本文将力图运用文史哲综合研究的思路,文献考索与理论批评相结合的方法,在较为宽广的视域中对近代宋诗派作为一历史扫描。论题中的近代宋诗派特指从道光至清末民国这一阶段,本文按照传统文学史论的习惯,将道光、咸丰期间的前期宋诗派称为道咸宋诗派,同治以后的后期宋诗派概名为同光体。全文本此分上下两篇,在流派内部划分时,在兼顾时序的基础上,主要突出地域、姻亲、师友三层关系来划分诗人群体。绪说概介论题的范围研究、状况及采用的研究方法。正文的上篇第一章着重结合晚清汉宋融合的学风与清代宗宋潮流来勾勒道咸宋诗派兴起的原由。第二章从诗歌审美理想与艺术宗派两方面分析其诗学思想。在以上两章的基础上,第三章对道咸宋诗派创作的思想内容与艺术特点作一系统的描叙。道咸宋诗派诗人中学者不少,但他们并非前人所言专重在诗歌中显耀学问。其诗歌意象方面的特点证显了其宋化的特征。第四章择选何绍基、郑珍等代表诗人对道咸宋诗派作一微观考索,探讨诗人的艺术个性。下篇第五章首先从历史情境厘清同光体的得名及含义,并考察其成因与组织,进一步通过同光体与南社、诗界革命的背景联系,肯定其历史地位。第六章由“学人之诗”与“诗人之诗”观点推导出同光体重建诗歌古典主义审美理想,中国古代文化对创作主体的注重,也使得同光体诗人将“不俗”与“雅人深致”作为实现其理想的基点。第七章以地域为切入点,梳理闽地诗风由唐趋宋的转向以及与浙派有直接联系的秀水派,为同光体寻绎出地域渊源。以下诸章分论同光体各支派。第八、九两章分析赣派的宗派意识、文化心态、诗风趋向与变异,讨论以陈三立为中心的更多还原

【Abstract】 In the poetry history of modern times, Song-shi School, a traditional school of literature, is of the greatest and the longest influence. It is the mark of the top development of the classical poetry current in Qing dynasty. The poetry ideal and achievement of this school indicated that in order to gain a new life, classical poetry must alter its form and mood. The thesis tries to ponder the concrete strategy of saving the poetry fate, based on the reflection of source, form, development, ideal, creation of Song-shi School, and tries to approach the last course of the Chinese classical poetry. To widely examine the history of the Song-shi School in modern times, the thesis will adopt comprehensive study of literature, history and philosophy, and the way of combination of investigation of document and theoretical criticism.The history period of the Song-shi School in the thesis is from the reign of Emperor of Daoguang to the end of Qing Dynasty, the Republic of China. According to the convention of the science of literature history, the earlier stage of the school is called Dao-xian Song-shi School. The later is called Tong-guang Style. In accordance with the history of the school, the thesis is divided into two parts. The first part includes introduction and four parts. The later part includes seven parts and summarization. Within the school, the thesis emphasizes to highlight the relation of the regionalism, marriage and teacher and friend.The introduction recounts the scope, studying situation of the subject and the research method of the thesis. The first chapter narrates the reason that the Song-shi School rose. The second chapter analyses the poetry thinking of the school. The third describes the contention and artistic style of the school. This chapter also points out that the poems of Dao-xian Song-shi School did not meticulously showed off their learning in their poets. The forth selects out some typical representatives of the school such as He-Shaoji, Zheng-zhen, to give microcosmic analysis to the whole school’s artistic更多还原