南北朝文笔之辨——由重韵到重情  

Discussion on“Wen Bi”Theory of Southern and Northern Dynasties——Focus from Rhythm to Emotion

作　　者：管莎莎[1] 

机构地区：[1]安徽大学文学院,合肥230039

出　　处：《六盘水师范学院学报》2016年第3期29-30,共2页Journal of Liupanshui Normal University

摘　　要：文笔之辨是中国古代文论研究的重要范畴,大约发生于刘宋之时。通过对文笔之辨演变脉络的梳理,将其分为两个阶段去认识。第一阶段以范晔、颜延之和刘勰为代表,他们主要以韵的有无来区别文笔;第二阶段则以萧统、萧绎为代表,他们以情感因素兼顾韵脚作为标准。笔者不采用惯常的传统与革新、前期与后期之说,是因为"阶段"更能突显研究对象之间连续性和可沟通性。将两者合而观之,才可窥视南北朝文笔之辨的全貌。＂Wen Bi＂ theory in Liu Song period is an important theory in the study of Chinese ancient literary theory. It can be divided into two stages for us to study. The first stage represented by Fan Ye, Yan Yanzhi and Liu Xie, advocates a melody as standard. The second stage represented by Xiao Tong and Xiao Yi takes emotion and melody as the standard. The author will not adopt the commonly used analysis which are tradition and innovation and the early and late mainly, because delete this ＂stages＂ method delete can emphasize the re- lationships among delete study objects, such as continuity and communication. Combination of the above two stages is to see all the characteristics of the ＂Wen Bi＂ theory.

关 键 词：文笔之辨 南北朝 阶段 

分 类 号：I206.2[文学—中国文学]