潘岳《秋兴赋》对宋玉《九辩》悲秋的承继与发展探赜——以“象喻”言说机制与“天人合一”思维方式为视点  

An Exploration of the Succession and Development of the Tragic Autumn in Pan Yue's Qiu Xing Fu to Song Yu's Jiu Bian--From the viewpoint of"image-simile"speech mechanism and"unity of nature and man"thinking mode

作　　者：张英伟[1] ZHANG Ying-wei(Communication University of China,Beijing,China,100024)

机构地区：[1]中国传媒大学人文学院,北京100024

出　　处：《广东开放大学学报》2023年第1期53-58,共6页JOURNAL OF GUANGDONG OPEN UNIVERSITY

摘　　要：宋玉《九辩》借助草木、鸟、兽、虫等“喻象”建构文本,悲秋述志,而“天人合一”观念以及在此基础上所形成的“象”思维构成了其“象喻”言说生成机制。在后世文人的悲秋之作中,以西晋潘岳的《秋兴赋》较为经典,从“象喻”言说机制和“天人合一”的思维方式等方面与宋玉《九辩》悲秋进行比较,得以探究宋玉悲秋对后世文人的影响以及后世文人对宋玉悲秋的接受与继承。Song Ws Jiu Bian constructs the text with the help of"figurative images "such as plants,birds,beasts and insects,and expresses the sad autumn.The concept of"unity of nature and man"and the"image"thinking formed on this basis constitute the generation mechanism of his"image-metaphor"speech.Among the sad autumn works of the later literati,Pan YUe's Qiu Xing Fu in the Western Jin Dynasty is more classic.Compared with Song Yu's Sad Autumn in Jiu Bian from the aspects of the speech mechanism of"image-metaphor"and the thinking mode of"unity of nature and man",we can explore the influence of Song Yu's sad Autumn on the later literati and the acceptance and inheritance of Song Yu's sad autumn by the later literati.

关 键 词：《秋兴赋》 《九辩》 悲秋 象喻 天人合一 

分 类 号：I207.224[文学—中国文学]