摘要
文论史上的“义熙诗风”与“元嘉诗风”,人为地把浑然为一的诗风演进按照朝代一分为二。其实,晋宋之际,由作者构成而论,超凡脱俗的名士群体已经退出历史舞台,正是才艺出众的文士群体的天下;据审美趋向而言,名士钟情于清谈,争胜于谈锋,大都重理而轻文,而诗人钟情于吟咏,竞逐于才藻,往往重文而轻理。晋宋的诗运转关,使“情”、“采”向文学复归,体现出诗骚传统的归位,意味着中古文学在晋宋之际的新生,为南朝文学的兴盛提供了方向性的保障。
“Yi- xi Poetic Style” and “Yuan- jia Poetic＇ Style” in the history of literary criticism in China artificially divided the evolution of the poetic style as a unified entity into two on the basis of the two dynasties. In fact, as far as the writer composition were concerned, the shift of orientation of the Poetry Drive between Jin and Song Dynasties meant that the famous scholars retired and young poets were fast emerging; in terms of the aesthetic tendency, it meant two different styles owing to aesthetic differences. The shift of orientation of the Poetry Drive ensured the flourishing prosperity of literature in Southern Song Dynasty in its orientation.
出处
《湖南大学学报（社会科学版）》
2005年第5期82-85,共4页
Journal of Hunan University(Social Sciences)
关键词
“义熙诗风”
“元嘉诗风”
作者构成
审美趋向
诗运转关
“Yi- xi Poetic Style ”
“Yuan-jia Poetic Style”
writer composition
aesthetic tendency
orientation shift of poetry drive
