清代词学批评视野中的词源论  

Discussion on the Origin of Ci-poetry in View of Ci-poetry Criticism in the Qing Dynasty

作　　者：胡建次[1] 

机构地区：[1]南昌大学中文系,江西南昌330031

出　　处：《华南农业大学学报（社会科学版）》2011年第1期134-139,共6页Journal of South China Agricultural University(Social Science Edition)

基　　金：国家社会科学基金项目(07CWZ001)

摘　　要：清代词学批评视野中的词源论,主要体现在三个维面:一是词为"诗余"之论,二是词为"倚声"之论,三是词为"诗余"与"倚声"相结合之论。在第一个维面,其主要包括三条线索:一是从总体上阐说词源于诗体,二是分论词源于风骚之体,三是分论词源于唐人近体诗;在第二个维面,其主要包括两条线索:一是侧重从音调渊承上论说词源于乐府之体,二是侧重从体制渊承上论说词源于乐府之体。上述几个维面,共构出了我国古典词源论的主体空间。The discussion on the origin of Ci-poetry in view of Ci-poetry criticism in the Qing Dynasty,mainly embodies in three aspects： Ci-poetry is beyond poems,Ci-poetry rely on music,Ci-poetry as the combiation of beyond poems and rely on music.The first aspect mainly include three clues： the first explains the Ci-poems origins from poems as a whole,the second is that Ci-poems origins ＂feng sao＂,the third Ci-poems origins from Tang poems;The second aspect mainly includes two clues： the first explain the Ci-poems origin from ＂yue fu＂ poems from the angle of music and tone,the second is explains the Ci-poems origins from ＂yue fu＂ poems from the angle of body and style.The above-mentioned aspects compose the main space of Chinese classical theory of Ci-poetry origin altogether.

关 键 词：清代词学 词源论 “诗余”论 “倚声”论 “两结合”论 

分 类 号：I207.23[文学—中国文学]