文体学视野下周邦彦词的雅化路径探析  

On the Gracefulness Paths of Zhou Bangyan’s Lyrics under the Stylistics Perspective

作　　者：祝云珠[1] ZHU Yunzhu

机构地区：[1]贵州民族大学文学院,贵州贵阳550025

出　　处：《贵州民族大学学报（哲学社会科学版）》2024年第2期138-152,共15页Journal of Guizhou Minzu University:Philosophy and Social Science

基　　金：2019年国家社会科学基金项目“中国古典词论雅俗观的生成与嬗变研究”(19BZW009)阶段性成果。

摘　　要：在文体学视野下,对周邦彦词的雅化路径进行考察。之后发现,“众体兼备”的周词,其雅化的重要路径有:“以诗为词”“以赋为词”“以小说为词”等等。在集众体之大成的同时,坚守“本色当行”,吸取各体“雅”的成分,实现了词的雅化,达到“情”与“事”的巧妙结合,抒情“不为情役”,“用事不为事用”,展示了周词奇妙的雅化过程,体现了文体内在的交融和互动。这种雅化路径开启了南宋姜夔等人的雅词创作范式,对浙西词派和常州词派的雅词创作也有着重要的启迪意义。Under the stylistic perspective we conduct a study on the gracefulness paths of Zhou Bangyan’s lyrics.The study indicates that his lyrics displace a variety of collective styles,his important gracefulness paths being“poems as lyrics”,“odes as lyrics”,and“novels as lyrics”and things alike.While absorbing the features from others,his lyrics attach importance to“the ontological features of lyrics”,resulting in the gracefulness of lyrics,specifically,a nice combination of“emotions”and“things”,expressing emotions while“not confined to emotions”,and“resorting to things while not used by things”.In this way the lyrics gracefulness embodies the inherent stylistic integration and interaction.Such gracefulness paths started a graceful lyrics creation paradigm for Jiang Kui,a Southern Song Dynasty writer and provided significant implications for the graceful lyrics of the West Zhejiang School and the Changzhou School.

关 键 词：文体学 周邦彦词 雅化路径 

分 类 号：I207[文学—中国文学]