民国旧体诗“落花”意象之变迁  

Change of the Image of“Falling Flowers”in the Old-style Poetry of the Republic of China

作　　者：徐钰茹 XU Yu-ru(College of Arts,Jiaying University,Meizhou,Guangdong 514015)

机构地区：[1]嘉应学院文学院,广东梅州514015

出　　处：《汕头大学学报（人文社会科学版）》2020年第8期16-22,94,共8页Journal of Shantou University(Humanities and Social Sciences Edition)

基　　金：教育部人文社会科学重点研究基地重大项目“20世纪传统诗学文献整理与理论研究”(16JJD750011)。

摘　　要：“落花”是中国古典诗歌重要的审美意象,时至民国时期,“落花”之咏同样纷繁叠出,新意频见。概其在民国时期的意蕴内涵,大致经历了三个阶段的变迁:民国初期,胜朝遗老多借“落花”传达禾黍之叹;民国中期,文人以“落花”抒发文化失落的痛楚;到了抗日战争时期,诗人用“落花”象征家国不幸。由此可见,传统的审美意象在近代历史变迁过程中,文化意蕴也在丰富、变化,具有鲜明的时代色彩。“Falling flowers”is an important aesthetic object of Chinese classical poetry.Up to the period of the Republic of China,the chants of“falling flowers”are also numerous and new ideas are frequently seen.In the period of the Republic of China,the connotation of the concept has experienced three stages of change.In the early republic of China,old man of a past dynasty borrowed“falling flowers”to convey the sigh of corn;In the middle period of the Republic of China,the literati expressed the pain of cultural loss by“falling flowers”.During the Anti-Japanese War,the poet used“falling flowers”as a symbol of national misfortune.Thus it can be seen that the traditional aesthetic image in the process of modern historical changes,cultural implication is also rich,change,with a bright color of The Times.

关 键 词：民国 落花诗 禾黍之叹 文化失落 家国不幸 

分 类 号：I207.22[文学—中国文学]