论白居易曲词写作的词体发生史意义  

The Meaning of the Lyric Style Occurrence History in Bai Lyrics

作　　者：木斋[1] 

机构地区：[1]吉林大学文学院,吉林长春130012

出　　处：《新疆大学学报（哲学社会科学版）》2009年第3期109-115,共7页Journal of Xinjiang University(Philosophy and Social Sciences)

基　　金：国家社会科学基金后期资助项目"唐宋词体演进史"(06FZW008)

摘　　要：白居易等人的词体写作,完成了由李白创制以来的阶段性宫廷词向士大夫词的一次转型,反映出声诗写作与新兴曲词写作的相互融合;白居易等人的新乐府运动,在客观上成为链接宫廷到民间的桥梁,也成为士大夫精英文化与民间文化相互交流的纽带,在推动民间曲词兴起的同时,又将盛行于民间的一些文学形式汲取到自己的创作之中,新乐府诗三三七的句式结构直接对词体的句式方式产生了影响;白居易词体写作具有发生史意义。The lyric style of Bai Juyi et al completed the transition from court lyrics created by Libai to scholar-bureaucrat lyrics and reflected the combination of the voice of poetry writing and new lyrics writing. New Yuefu movement by Bai Juyi et al linked the palace and civil society and became a bridge for exchange between elite culture and folk culture. The movement promoted the development of folk songs and at the same time it absorbed some form of folk literature to its own creativity. The sentence structure ot New Yuefu Poetry had an impact on lyric style directly and Bai lyric style had significance in the lyric style occurrence history.

关 键 词：白居易 士大夫家宴文化 俗文化 新乐府诗 曲词 

分 类 号：I207.23[文学—中国文学]