“东坡愁”的审美范式及其词体特征  

The Aesthetic Paradigm of"Dongpo Sorrow"and its Stylistic Features

作　　者：张文浩 ZHANG Wen-hao(School of Chinese Language and Literature, Yangtze Normal University, Chongqing 408100, China)

机构地区：[1]长江师范学院文学院,重庆408100

出　　处：《河北科技大学学报（社会科学版）》2020年第3期72-76,89,共6页Journal of Hebei University of Science and Technology:Social Sciences

基　　金：教育部人文社会科学研究项目(19XJA751010)。

摘　　要：柳永以慢词创作打破“花间范式”单一格局;以“耆卿为舆台”分流成两种审美范式,一种被周邦彦发展成清真范式,另一种被苏轼推衍成东坡范式。东坡范式与文人言愁风尚紧密相关,可归结为“东坡愁”。“东坡愁”的审美范式呈现三个审美特征:主体立场由“代言”转向“我言”;缘事动情,加强词作的叙事功能;呈现须眉本色及“性情之外不见文字”的美学风貌。苏词从容调度各种表现方法,将各类愁绪审美化,其旨归却指向人生的自由层面,以超然自适的文化人格从各种愁绪中解脱出来。Liu Yong changed the single pattern of Hua Jian with his creation of Manci.Taking Liu Yong as the platform,Song Ci was divided into two aesthetic paradigms,one of which was developed into the Qingzheng paradigm by Zhou Bangyan,and the other was grown into the Dongpo paradigm by Su Shi.Dongpo paradigm is closely related to the fashion of literati's sorrow,which can be attributed to"Dongpo sorrow".The aesthtic paradigm of"Dongpo sorrow"presents three aesthetic features:The subject position changes from"Speak for others"to"I speak".The narrative function of ci is strengthened by expressing the emotion according to things.It presents the nature of male temperament and"the aesthetic style of temperament without words".Su Ci easily arranges various expression methods and aestheticizes all kinds of melancholy,but its purpose is to point to the freedom of life,and is extricated from all kinds of melancholy with transcendent and self-adaptive cultural personality.

关 键 词：“东坡愁” 审美范式 “我言” 叙事功能 文化人格 

分 类 号：I207.2[文学—中国文学]