对宋词“有偏斜度的超越”:从遗山词看金词  

Beyond with Skewness of Song Ci:Understanding Jin Ci from Yishan Ci

作　　者：于东新[1] 张丽红[2] 

机构地区：[1]内蒙古民族大学文学院,内蒙古通辽028000 [2]内蒙古电子信息职业技术学院,内蒙古呼和浩特010000

出　　处：《北方民族大学学报（哲学社会科学版）》2013年第6期95-99,共5页Journal of North Minzu University(Philosophy and Social Science)

基　　金：教育部人文社科规划基金项目"多民族文化背景下的金代词人群体研究"(12YJA751075);中国博士后科学基金面上资助一等资助项目"金三都文学活动研究"(2013M530108);内蒙古人才开发基金项目"民族文化融合与金词艺术研究"

摘　　要：作为金词之集大成,遗山词继承了宋词之言情传统,然又不为宋词所囿,其抒情豪迈苍凉,慷慨率直,情辞恳切,具有元氏自我面目。在体制上,元好问推尊"东坡体"而成金词之"正体",改造"宫体"而为新体宫词。在风格上,元氏既有本于苏、辛的"遗山壮词",又"不尽为苏氏余波"。究其成因,多民族文化融合不仅是金词发生的背景,更是其发展的动力,遗山词充分体现了金词对宋词"有偏斜度的超越"。Yishan Ci as the main form of Jin Ci, followed suit of the romance fiction tradition of Song Ci, yet not being considered as the majority. Regarding to the structure, Yuan Haowen borrowed Dongpo style as the main style of Jin Ci, and changed the palace style to the neo-palace style. In terms of style, Yuan Haowen rooted in the Yishan Zhuang Ci of Su Shi and Xin Qiji, kept the Su＇ s style as well, which resulted from the ethnic culture integration as the background, also the motive force of its development. Yishan Ci resulted in the Jin Cibeyond with skewness of Song Ci.

关 键 词：元好问 遗山词 金词 民族文化融合 

分 类 号：I207.9[文学—中国文学]