【作者】 刘和文；

【导师】 马卫中；

【作者基本信息】 苏州大学 ， 中国古代文学， 2009， 博士

【摘要】 清诗总集与清代诗论、诗歌流派、诗歌创作及作家有着密切的关系,颇有研究意义。本文以笔者所寓目的240种、调研所收集的800余种清诗总集的相关资料为研究对象,对之统计分析,宏观上概括清诗总集特征和概貌,探究清诗总集与诗歌批评、诗歌创作的关系。并借鉴地域性诗学、诗学流派理论等相关诗学理论,选择具有代表性的清诗总集,通过个案研究、抉发清诗总集中所蕴含的学唐诗论、学宋诗论和诗史论等诗学理念,兼及对清代诗歌流派、地域文化、士人心态、文化风尚等的考察。绪论介绍了研究范畴、研究现状及研究方法。第一章概述清人编选清诗总集的基本特点和类型,分析清诗总集繁盛的原因。第二章从清诗总集的编辑过程及其文本内容概括它具有群体性、地域性和政治性等特征。由于清诗总集贯穿着辑选家的美学趣味和诗学观念,渗透着对清诗的功能、体式、流别、宗主等问题的认识与态度,第三章即对此进行探析——分析清人对诗歌总集批评观念的认识;探究清诗总集序、跋与凡例诗学批评机理;并概括了清诗总集评点概况、总集与诗话的关系、读者评点特征。第四章讨论清代诗家普遍认识到的总集对创作所起的推动作用,以《同馆试律诗汇钞》、《晚清四十家诗钞》为例进行分析,探析清诗总集具有指明诗歌创作路径、总结诗歌创作方法的作用。第五章探究清诗总集学唐诗论,分析夏完淳《云间三子诗合钞》、吴伟业《太仓十子诗选》主情的诗学观,指出其弥补明代学唐诗重法则而不重情的缺陷,开启清代学唐诗之格调;探析沈德潜《国朝诗别裁集》重主旨、主性情、讲神韵的诗学观念,如何将温柔敦厚的诗教观融入于学唐格调以丰富清人学唐诗的内涵;研析王昶《湖海诗传》、符森葆《国朝正雅集》继承学唐诗格调的同时,强调学问对诗歌创作的影响,具有兼取唐宋的倾向。第六章阐释清诗总集学宋诗论,分析清初钱谦益《吾炙集》主真求变的诗学观,打破了复古派的审美禁区,扫除了清初诗坛专宗盛唐的风尚,对推动清代宋诗风有重要作用;康熙诗坛吴之振《八家诗钞》、王士禛《感旧集》表现出兼取唐宋的倾向,有提高宋诗地位的意识,并强调学问的重要性;吴颢、吴振棫《国朝杭郡诗辑》则展示学宋诗的另一种特点——以学问入诗；而陈衍《近代诗钞》集成清代学宋诗的诗学观,提出“学人之言与诗人之言合”的观念。第七章以邓汉仪《诗观》、张应昌《清诗铎》和孙雄《道咸同光四朝诗史》为代表,分析它们对社会风貌和诗歌发展概况的反映,揭示出它们的诗史观。附录三种,介绍了所寓目清诗总集括构成要素、版本等方面的概况,对于检阅总集概貌,有一目了然的效果,而且具有一定的文献参考价值。综上所述,已大体描述出清诗总集概貌与特征,显示出清诗总集与诗学批评、诗歌创作之间的关系。结语总结本文的创新点,并对本文的薄弱环节及清诗总集有待进一步研究的方面做了说明。更多还原

【Abstract】 Anthology of poetry, the study of poetry anthology is of great significance, for it is closely related to poetics, schools of poetry, poetry creation and poets. Therefore, The dissertation, starting with the statistical analysis of over 240 poetry anthologies the present author has read and of related books and data obtained from the investigation of over 800 collections of the Qing poems, gives a broad overview of the collected Qing verses by summarizing their features. Meanwhile, the relationship of the Qing poetry anthology to poetry criticism and poetic composition has also been examined. Besides, the paper, by employing relevant theories of poetics (e.g. geographical poetics and genres of poetics), deals, based on case studies of representative collections, with such poetic concepts as style, the Song poetics, history of poetry, etc. represented by the Qing poem collections. Which is also given in the paper to schools of the Qing poetry creation, regional cultures, mentalities of literary intelligentsia, and cultural practices.Introduction presents a conception of categorization, status quo and methodology as the basis of this study. Chapter I outlines the basic features and types of the Qing poems collections that the Qing scholars compiled and analyzes the reasons that they flourished. Chapter II sums up, according to the process of anthologizing and the collected works, their features of collectivity, regionality and politics. Moreover, it is inevitable that the anthologizing of the Qing poems was influenced by the anthologists’aesthetic taste and poetic concept, namely, their understanding of and attitudes toward such issues as nature, function, form, genre and model of the Qing poetry. Hence Chapter III analyzes the views that the Qing students held on the criticism of the Qing poetry anthologies, and examines varieties of poetics represented by the anthologies’prefaces, postscripts and introductory notes, together with the relationship between the comments on and dissemination of them and poetics, followed by the detailed discussion in the sections over the notions of style, the Song poetics and poetry history.Chapter IV is designed to examine the relationship of the anthology of the Qing poems and the creation of poetry before reaching an agreement through the discussion that the Qing poets had fully realized the driving force that anthology imposed upon creation, followed by an analysis of Collected Rimed Verses of Entrance Examination to Tongwenguan which explores the guiding function that the anthologies of the Qing poems assumed in the writing as well as a case study of Collected Poems of Forty Poets during the Late Qing in which the assumption that the anthologies are collections of the techniques for poetic composition has been ascertained.Chapter V, based on the analysis of the sentiment-oriented poetics represented by Xian Wanchun’s Collected Verses of Three Scholars of Songjiang House and Wu Weiye’s Anthology of Poems of Ten Scholars from Taicang, points out that the poetics, making up for the deficiencies in the school of style in the Ming Dynasty, initiated a new thinking on the style of the Qing poetry. And Shen Deqian’s Selected Poems of the Qing Dynasty manifests a poetics directed at motif, nature and romantic charm, which highlights the connotations of the theory of style by integrating gentle and kind outlook on poetry education with style, followed by Wang Chang’s Commentaries on Poems across the Country and Fu Senbao’s Anthology of the Qing Verses, which both inherit the former theories of literary style and stress the influence that knowledge exerts upon poetic creation, hence showing their trend in the Tang and Song poetics.Chapter VI presents an analysis of Anthology of My Favorite Poems compiled respectively by Qian Qianyi, in the early Qing Dynasty, which reflect a poetics that neither models itself solely on poetry writing in the bloom of the Tang Dynasty, nor pays no regard to the Song poetics, and hence is of significance in initiating a new poetic fashion in the Qing Dynasty of learning the Song poetry. In the reign of Emperor Kangxi (1661-1722), Wu Zhizhen’s Collected Works of Eight Poets and Wang Shizhen’s Anthology of Reminiscent Poems show their trend in learning the Tang and Song poetry writing, which demonstrates their awareness of enhancing the status of the Song poetry and stresses the importance of scholarship. In the mid of the Qing Dynasty, Anthology of the Qing Poems of Hangzhou Prefecture edited by Wu Hao and Wu Zhenyu displays another characteristic of the Song poetics, namely, the fusion of learning into poetical writing, and advances the notion of the scholar poets. Furthermore, Chen Yan’s Anthology of Modern Poetry, proposing the concept of integrating scholars’statements with poets’, is virtually a collection of all poetic views held by the school of the Song poetics throughout the Qing Period.Chapter VII, regarding as representatives Deng Hanyi’s Appreciating Poetry, Sun Xiong’s History of Poetry during the Reigns of Emperors Daoguang, Xianfeng, Tongzhi and Guangxu, and Zhang Yingchang’s Singing the Qing Poems, investigates social practices of the times in which the three anthologies occurred and the poetics development that they reflect, hence demonstrating their views on poetry history. The following three appendixes, serving as a clear review of the profile of the collections, display the constituent elements and editions of the Qing poetry anthologies, and so are of value in documentation.On the whole, the above has given a rough account of the profile and features of anthologies of the Qing poems, indicating their relationship with poetics criticism and poetry creation. Lastly, the conclusion to the paper accounts briefly for the creations, the weaknesses of the study and future research into the Qing anthologies.更多还原