杨万里诗歌创作进阶与“诚斋体”的成型  

Change of Yang Wanli's Poetic Style and Formation of "Chengzhai Style"

作　　者：熊海英[1] 

机构地区：[1]江汉大学语言文学研究所,湖北武汉430056

出　　处：《南昌大学学报（人文社会科学版）》2012年第1期122-127,共6页Journal of Nanchang University(Humanities and Social Sciences)

基　　金：国家社会科学基金项目"士阶层分化与南宋文学生态之新变"(11BZW051)

摘　　要：一般认为,杨万里的诗风有4次发展变化,通过文本细读与数据统计可以发现:"诚斋体"的成型与诗人的创作进阶并不同步;《朝天续集》时期创作变化的实质是将七律改造成流转圆活的风格;求"变"伴随着杨万里的全部创作历程。就"诚斋体"而言,从个体诗风特质萌芽到定型的过程是诗人寻找新的语言、新的审美范畴,逐渐摆脱成法和定式,自然而然地对古典诗歌既有的单元化秩序进行解构的过程。不过以"趣"为审美核心范畴使"诚斋体"存在着与生俱来的局限性。There are four changes about Yang Wanli in shaping his poetic style.Texts and data statistics show that the establishment of Chengzhai Style and the development of the poet＇s creative work are out of phase.The substance of the creation changes in the period of The Chaotian Xuji is to turn seven-syllable style into a flexible and mellow one.Striving for ＂change＂ runs through Yang Wanli＇s whole process of creation.In term of Chengzhai Style,from the initial stage of individual poetic style to the establishment is the process of seeking for new language and aesthetic paradigm,gradually breaking through the former writing method and naturally deconstructing the rules existing in classical poetry.But Chengzhai Style,the core esthetical category based on ＂interest＂,is born with limitation.

关 键 词：杨万里 诗歌创作 诚斋体 诗歌范式 解构 局限性 

分 类 号：I207.227.442[文学—中国文学]