论李东阳以声辨体的诗学思想  

Li Dong-yang' poetic theory of formal distinctions by rhythm

作　　者：邓新跃[1] 

机构地区：[1]湖南科技大学人文学院,湖南湘潭411201

出　　处：《中南大学学报（社会科学版）》2006年第4期492-495,共4页Journal of Central South University：Social Sciences

基　　金：湖南省哲学社会科学重点研究基地"中国古代文学与历史文化研究基地"阶段性成果之一(05K004)

摘　　要：明代茶陵诗派的开创者李东阳从声律形式的角度来探讨诗歌的本质特征,是我国古代较早开始探讨古体诗声律问题的批评家,尤其是他的"以声辨体"的乐府诗论与乐府诗创作,是对宋代以来诗学批评过于注重义理说教的理性化倾向的反拨,是明代诗学辨体理论发展的产物,值得引起研究者的关注。Li Dong-yang, the inaugurator of Chaling School, who had studied the essential characteristics of poetry in terms of rhythm, was one of the earliest critics analyzing the rhythm of archaic poetry in ancient China. His theory,especially his Yuefu poetics criticism about rhythm of archaic poetry and his Yuefu poetry composing, had revised the rational tendency ever since the late Song Dynasty, featuring excessive emphasis of moralization in poetics criticism. Both his theory and composing were the products of the development of the formal poetics distinctions criticism in Ming Dynasty and had attracted lots of studies.

关 键 词：李东阳 以声辩体 诗学思想 诗学辨体理论 

分 类 号：I207[文学—中国文学]