| 明代复古派论格调与诗体关系 |
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| 引用本文： | 李思涯.明代复古派论格调与诗体关系[J].北方论丛,2012(2):11-13. |
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| 作者姓名： | 李思涯 |
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| 作者单位： | 中山大学人文高等研究院 |
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| 基金项目： | 2011年教育部人文社会科学研究青年基金项目(编号:11YJC751042)阶段性成果 |
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| 摘 要： | 格调作为中国诗学重要的术语被明代复古派发挥使用,本身与文体关系密切,不仅是体的特征,而且也是体发展变化的表现,通过还可以辨析体之间的差别。同时代的另一重要诗学概念性灵却与体无关而与心学思想有关,比较二者差异,可以看出诗学术语的选用与特定文化精神内在的一致性。同样,与格调比照,诗学概念神韵与体关系也不大,却因而摆脱了诗体的束缚,成为更高位的诗学概念。
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| 关 键 词： | 格调 性灵 神韵 文论 |
Classicist School’s Poetic Concept Gediao and Poetry Genre |
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| LI Si-ya.Classicist School’s Poetic Concept Gediao and Poetry Genre[J].The Northern Forum,2012(2):11-13. |
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| Authors: | LI Si-ya |
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| Institution: | LI Si-ya (Institute for Advanced Studies in Humanities,Sun Yat-sen University,Guangzhou 510275,China) |
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| Abstract: | The poetic concept gediao have a close relationship with genre.It is not only the feature of genre,but also the manifestation of the genre’s changing and development.Gediao relates with genre,while the poetic concept xinling has nothing with genre.The difference of gediao and xinling shows that the choice of concepts is in accordance with the particular thoughts.Comparing gediao with another poetic concept shenyun,the paper explores that shenyun also has no relation with genre,thus it becomes a higher-level poetic concept. |
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| Keywords: | gediao xingling shenyun |
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