| 论刘辰翁宋亡后咏春词与元宵词的意象模式 |
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| 引用本文： | 万静. 论刘辰翁宋亡后咏春词与元宵词的意象模式[J]. 兰州学刊, 2008, 0(7): 182-184,196 |
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| 作者姓名： | 万静 |
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| 作者单位： | 中国人民大学,文学院,北京,100872 |
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| 摘 要： | 宋亡之后，遗民词人刘辰翁抒发亡国哀痛的最主要题材就是咏春词和元宵词。这种偏好的原因在于创作两类词意象模式的特殊性。咏春词中的传统意象更容易激发亡国情绪，而经验意象则重叠着过去与目前双重的情感；元宵词多用今昔对比的意象模式，同时将现实意象与非现实意象交替入词，强化盛衰兴亡的主题。
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| 关 键 词： | 刘辰翁 咏春词 元宵词 意象 |
The Imago Mode of Lyrics Intoned Spring and Yuan Xiao of Liu Chenweng after nation's perdition |
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| Wan Jing. The Imago Mode of Lyrics Intoned Spring and Yuan Xiao of Liu Chenweng after nation's perdition[J]. , 2008, 0(7): 182-184,196 |
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| Authors: | Wan Jing |
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| Abstract: | After the nation＇s perdition, Liu Chenweng, a lyric writer of the ex -dynasty, expressed his soreness mostly by two important themes： spring scenery and Yuan Xiao festival. It＇ s because the characteristic of their imago modes. The conventional imago in ones intoned spring could arouse writer＇ s emotion about nation＇ s perdition, and the experiential imago covered the feelings both of past and now. He usually contrasted past and now imago in Yuan Xiao Lyrics. At the same time, he syncretized the real -life and unreality imagoes, intensifying the emotion in the lyrics. |
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| Keywords: | Liu Chenweng Lyrics intoned spring Lyrics intoned Yuan Xiao festival Imago |
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