论朝鲜李朝前期的骚体赋  

On Sao ti fu in the Early Joseon Dynasty

作　　者：牛海蓉[1] 刘秀秀[1] NIU Hai-rong;LIU Xiu-xiu(College of Chinese Language and Literature,Hunan University,Changsha 410082,China)

机构地区：[1]湖南大学文学院

出　　处：《海南大学学报（人文社会科学版）》2019年第5期111-117,共7页Journal of Hainan University （Humanities & Social Sciences）

基　　金：国家社会科学基金课题(17ZDA240)

摘　　要：朝鲜李朝前期大致与我国明朝同时,此时汉文骚体赋出现繁盛局面。赋家不仅在辞赋形制上沿袭了楚骚经典意象、意境,更深入探讨骚体赋的句法结构;在题材内容上,从抒情扩大到文化、祥瑞、治道、理学等类,从而使骚怨大大淡化。其盛行的原因,首先得自朱熹《楚辞集注》东传后的影响,其次受我国元、明时期“祖骚宗汉”赋学观的深刻影响,再次,与当时特定的政治环境和赋家遭际也有一定关系。The writing of Sao ti fu in Chinese became prosperous in the early period of the Joseon Dynasty,roughly the Ming Dynasty in China.Poets in the early Joseon Dynasty not only followed the classic image and artistic conception of the Chu Sao in the literary form,but also probed the syntax of Sao ti fu deeply.The subject and content had also expanded from lyricism to culture,auspiciousness,governance,and Neo-Confucianism and so on,which greatly reduced the pessimistic emotion of Chu Sao.Its prosperity not only results from the influence of Annotation of Chu Ci by Zhu Xi after its eastward spread,but is deeply influenced by the concept of fu rhapsody that“imitates the Sao style and venerates Han style”(zusao zonghan)in the Yuan and Ming Dynasties.In addition,the prosperity is also connected with the specific political situations and the poets’experiences at that time.

关 键 词：朝鲜李朝前期 骚体赋 形制特征 题材内容 盛行原因 

分 类 号：I321.6[文学—其他各国文学] I222.4