| 论刘克庄的诗歌创新观及其诗学地位 |
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| 引用本文： | 明见.论刘克庄的诗歌创新观及其诗学地位[J].殷都学刊,2003(2):71-75,112. |
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| 作者姓名： | 明见 |
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| 作者单位： | 三峡大学,文学院,湖北,宜昌,443000 |
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| 摘 要： | 中国诗歌发展到中晚唐 ,开始出现了普遍的模拟之风。刘克庄首先以全方位的创新诗学观反对这种模拟 ,他既全方位阐述了创新的内涵 ,又全方位提出了创新的方法。相对于整个中国古代诗学历史而言 ,刘克庄的创新观最全面、最系统、最具应用价值 ,因而是最具理论和实践双重意义的创新诗学观。
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| 关 键 词： | 刘克庄 宋代诗学 中晚唐诗风 |
| 文章编号： | 1001-0238-(2003)02-0071-05 |
| 修稿时间： | 2003年4月11日 |
To Discuss Liu Kezhuang's Ideas about Poem Creativity and Their Status on Poetics History |
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| MING Jian.To Discuss Liu Kezhuang''s Ideas about Poem Creativity and Their Status on Poetics History[J].Yindu Journal,2003(2):71-75,112. |
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| Authors: | MING Jian |
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| Abstract: | Developing until the middle and late Tang Dynasty, China's poem bega n to universally imitate each other. Liu Kezhuang first protested against this k ind of imitation with the omnidirectional ideas about poem creativity. He elabor ated the connotation and put forward various means about creativity. Among all t he ideas about poem creativity, Liu's ones were the most overall, the most syste matical, the most practical. Thereby, Liu's ideas had double significance in the ory and practice. |
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| Keywords: | creativity imitate connotation means status |
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