建安七体文论析  

Comment on and Analysis of “Qi( Seven) ”Style in Jian'an Period

作　　者：朱秀敏[1] 宋金民[1] 

机构地区：[1]怀化学院中文系,湖南怀化418008

出　　处：《贵州大学学报（社会科学版）》2014年第2期133-136,152,共5页Journal of Guizhou University(Social Sciences)

基　　金：湖南省社科基金"地域文化视阈中的湖南竹枝词研究"(12YBB206);湖南省重点学科建设项目

摘　　要：七体自枚乘《七发》首创之后,作者继踵。建安七体文皆是虚构一主一客问答的招隐型作品,但它们并不是简单的模拟之作,在思想倾向上,虽是以儒家思想为主,却也体现出当时对刑名之学的重视;在情感倾向上,作者的情感已由讽谏转向颂美,名为招隐,实为自招,并成为激励士人的劝仕之作;在艺术技巧上,注重语句的对仗工整,讲究音律的和谐,用典成分增多,体现出较强的骈化趋势。总之,建安七体文无论从内容还是形式,都受到了那个时代社会风气和政治背景的影响。The Qi （seven） style was created by modeling Mei Cheng＇ s works Qifa. During the period of Jian＇an, the Qi（seven） works were calling hermits through the fictional dialogue between a host and a guest, but they were not simply the simulated works. For the mentality, they also reflected the importance of the Xing and Ming theory although they were mainly based on Confucianism. For the affective tone, the authors turned to praise from allegory. They seemingly called for the hermit; but actually, called for themselves. Their works pres- ent a tendency to inspire the Confucian to be officials. For the artistry, these works emphasize the duality, pay attention to temperament of harmony, use allusions and reflect works in the period of Jian＇ an backgrounds in that era. were all subject, from content strong parallel trend. In short, the Qi （seven） to form, to the social atmosphere and political

关 键 词：建安 七体 思想倾向 情感倾向 艺术技巧 

分 类 号：I207.62[文学—中国文学]