论《怀风藻》汉诗对曹植《洛神赋》的接受  

On the Acceptance of Cao Zhi’s “Luoshen Fu” in the Han Poetry of “Kaifuso”

作　　者：王伟伟[1] WANG Wei-wei(School of Foreign Languages,Anhui Agricultural University,Hefei 230036,China)

机构地区：[1]安徽农业大学外国语学院,合肥230036

出　　处：《长春工程学院学报（社会科学版）》2020年第3期80-84,共5页Journal of Changchun Institute of Technology(Social Sciences Edition)

基　　金：安徽省教育厅高校人文社科重点项目“曹植《洛神赋》在古代日本的接受研究”(项目编号:SK2019A0144)。

摘　　要：曹植《洛神赋》随《文选》在近江奈良朝广泛传播,成为日本知识阶层熟稔的文学文本,进而对古代日本文学、文化发出了强力辐射。本论文通过中日诗歌原典的考辨,梳理、论证《怀风藻》对《洛神赋》中语象、意象的接受。《洛神赋》中的"洛神"原型、"洛浦"意象对古代日本"人神恋"叙事范式的确立和发展,"神女"系神话、"仙境"的建构具有重要意义。《洛神赋》承载的美感心理、情感模式以"符号"的形式进入日本文化,并不断被改写、重构,成为其不断传承的大陆"文化因子"。Cao Zhi’s "Luoshen Fu"has been widely spread in the OumiNara Dynasty along with the anthology,which becomes a literary text familiar to the Japanese intellectuals,and then stronglyradiates to the ancient Japanese literature and culture. Through the textual research on the original Chinese and Japanese poetries,this paper combs and demonstrates the acceptance of language images and images in Kaifusoto"Luoshen Fu". The prototype of "Luoshen"and the image of"Luopu"in "Luoshen Fu"are of great significance to the establishment and development of the narrative pattern of"love between man and God"in ancient Japan,and the construction of "goddess"as a myth and "fairyland". The aesthetic psychology and emotional mode of"Luoshen Fu"has entered Japanese culture in the form of "symbol",and has been rewritten and reconstructed continuously,becoming the "cultural factor"of the mainland that it continues to inherit.

关 键 词：洛神赋 怀风藻 接受 洛浦 回雪 

分 类 号：I207.7[文学—中国文学]