《江南歌》中的拟古诗学与风土书写  

Anthropomorphic Poetics and Vernacular Writing in Jiangnan Songs

作　　者：王培刚 Wang Peigang(Shanghai Normal University,China)

机构地区：[1]上海师范大学人文学院

出　　处：《日语学习与研究》2024年第4期105-114,共10页Journal of Japanese Language Study and Research

基　　金：2019年度国家社会科学基金重大项目“东亚汉诗史(多卷本)”(项目批准号:19ZDA295)的阶段研究成果,主持人:严明。

摘　　要：祇园南海所作《江南歌》十二首为日本近世竹枝词之鼻祖。十七世纪末至十八世纪初,拟古诗风席卷江户诗坛,以拟古为作诗技法的拟古诗学成为主流。在这一时代背景下,祇园南海模拟竹枝词体式而作《江南歌》,富于民歌式的俚俗色彩和乡土趣味,并通过对中国诗歌话语、意象的组合拼贴,描绘了日本和歌山城周边的地方风土景观,形成了拟古诗学与风土书写的交响。《江南歌》所呈现出的“雅俗融合”这一特征,又与南海诗论中的“雅俗之辨”密切相关。考察竹枝词在江户汉诗中的接受与变异,有助于我们从中日比较文学角度,重新审视日本汉诗的审美特征和文化内涵。Gion Nankai's twelve Jiangnan Songs are the originator of the modern Japanese Zhuzhi Poems.In the late 17th and early 18th centuries,anachronistic poetic styles swept through the Edo poetry world,and anachronistic poetics,which utilized anachronism as a poetic technique,became the main stream of the poetry world.In this background,Gion Nankai wrote Jiangnan Songs in the style of Zhuzhi poems,rich in folk song-like slang colors and vernacular interest,depicting the local landscape around the city of Wakayama by combining and collaging Chinese poetic discourse and imagery,forming a symphony between anthropomorphic poetics and vernacular writing.The"fusion of elegance and vulgarity"that characterizes the Jiangnan Songs is closely related to the"distinction between elegance and vulgarity"in Nankai's poetic theory.Examining the acceptance and mutation of the Zhuzhi Poems in Edo Chinese poetry helps us to re-examine the aesthetic characteristics and cultural connotations of Japanese Chinese poetry from the perspective of comparative literature between China and Japan.

关 键 词：竹枝词 祇园南海 江南歌 拟古 雅俗 

分 类 号：I313.072[文学—其他各国文学]