时与变:江总《宛转歌》的文化语境与拟作机制  

Times and Changes: Cultural Context and Imitation Mechanism of Jiang Zong's Poem Wanzhuan Ge

作　　者：王雨晴 WANG Yuqing(School of Liberal Arts,Nanjing University,Jiangsu Nanjing 210046,China)

机构地区：[1]南京大学文学院,江苏南京210046

出　　处：《乐山师范学院学报》2024年第10期17-23,31,共8页Journal of Leshan Normal University

摘　　要：作为诗史上篇幅最长的七言乐府,江总的《宛转歌》被研究者屡屡提及;但学界关于其主题内容的解读意见不一,其拟乐府创作的内在机制亦为人所忽视。江总《宛转歌》不同于一般的艳情题材,而是与宫廷主题存在互文关系,融入了陈后主时代真实而个性化的宫廷体验。在拟赋古题方面,江诗不同于以题面物象或情事为出发点等传统做法,而是另建立起基于抒情与意境一致性的联结机制,丰富了拟乐府的写作实践。As the longest seven-character Yuefu in the history of poetry,Jiang Zong's Wanzhuan Ge(about the sadness of parting)has attracted much attention from researchers.However,opinions on the interpretation of its theme vary,and the internal mechanism of its imitation of Yuefu's creation has also been ignored. Jiang Zong's poem, different from those with general erotic themes, has an intertextual relationship with the court theme, integrating the real and personalized experience in the court in the era of Chen Houzhu (553-604 AD). In the application of the title composing method, Jiang is different from those who generally make a direct and shallow connection between the title and the intended writing, but establishes a connection mechanism based on the consistency of lyricism and artistic conception, which enriches the writing practice in the imitation of Yuefu poetry.

关 键 词：江总 《宛转歌》 宫廷文化 互文性 拟乐府 

分 类 号：I207[文学—中国文学]