论唐宋词的“南唐范式”
|
摘要
"南唐范式"是唐宋词中有别于"花间范式""东坡范式""清真范式"三大创作范式的一种抒情范式,它起源于五代时期词人韦庄,定型于南唐李煜,而造极于北宋之世,对词体发展的进程产生了极大影响,是真正意义上的文人士大夫之词。"南唐范式"善于书写人生痛苦,善于书写自我的真情实感,常书写怀旧、离别、相思、漂泊等有关内心感受的题材,同时还具备深情美、质朴美、真切美、悲剧美等审美价值。唐宋词的"南唐范式"成就了宋词一代之文学,在词史上有着极为关键的地位。
The Southern Tang Dynasty lyric style of ci poetryis a lyric style,it is different from the Huajian Ci poetry、Dongpo Ci poetry and Qingzhen Ci poetry.It originated from Weizhuang in the Late Tang Dynasty,it is a stereotype from Li Yu,emperor of the Southern Tang Dynasty,and it is prosperous in the Song Dynasty.It has a major impact on the development of Ci poetry,it is the literati and officialdom's literature.It is good at describing the pain of life,real sentiments,affectionation simplicity and full of beauty of tragedies.Ci poetry of the Southern Tang Dynasty Lyric style became the best literary works of the Song Dynasty,it plays an important role in the history of Ci poetry.
The Southern Tang Dynasty lyric style of ci poetryis a lyric style,it is different from the Huajian Ci poetry、Dongpo Ci poetry and Qingzhen Ci poetry.It originated from Weizhuang in the Late Tang Dynasty,it is a stereotype from Li Yu,emperor of the Southern Tang Dynasty,and it is prosperous in the Song Dynasty.It has a major impact on the development of Ci poetry,it is the literati and officialdom's literature.It is good at describing the pain of life,real sentiments,affectionation simplicity and full of beauty of tragedies.Ci poetry of the Southern Tang Dynasty Lyric style became the best literary works of the Song Dynasty,it plays an important role in the history of Ci poetry.
引文
[1]王兆鹏.论“东坡范式”[J].文学遗产,1989(5):21-29.
[2]唐圭璋.词话丛编[M].北京:中华书局,1986.
[3]王国维.人间词话[M].北京:中华书局,2003.
[4]王兆鹏.唐宋词汇评:唐五代卷[M].杭州:浙江教育出版社,2004.
[5]曾昭岷.全唐五代词[M].北京:中华书局,1999.
[6]胡淑慧.晏殊、冯延巳词异同辨[J].北京理工大学学报(社会科学版),2005(3):38-40.
[7]唐圭璋.唐宋词简释[M].上海:上海古籍出版社,1981.
[8]况周颐.蕙风词话[M].北京:人民文学出版社,1960.
[9]钟嵘.诗品[M].北京:中华书局,1998.
[10]吴熊和.唐宋词汇评:两宋卷[M].杭州:浙江教育出版社,2004.
[11]陆侃如,冯阮君.中国诗史[M].济南:山东大学出版社,2000.
[12]宋华.晏殊词在唐宋词转型过程中的词史地位[J].文艺评论,2012(10):85-89.
[13]吴处厚.青箱杂记[M].北京:中华书局,1985.
[14]张舜民.画墁录[M].上海:上海古籍出版社,2012.
[15]吴小英.欧阳修词审美特色新论[J].社会科学辑刊,2003(5):163-166.
[16]陈匪石.宋词举[M].南京:金陵书画社,1983.
[17]陈定玉.论晏几道对令词发展的贡献[J].中国韵文学刊,1994(2):71-78.
[18]田维瑞,王建设.北宋词的发展与秦观词的艺术[J].武汉水利电力大学学报(社会科学版),2000(2):51-54.
[19]张璋.谈李清照的词学成就[J].文学遗产,1990(1):98-104.
[20]韩新,唐绍磊.论李清照的词学成就[J].山西师大学报(社会科学版),2009(3):61-69.
[21]詹安泰.李璟李煜词[M].北京:人民文学出版社,1958.
[22]晏几道.小山词[M].上海:上海古籍出版社,1985.
[23]徐培均.李清照集笺注[M].上海:上海古籍出版社,2002.
[24]谭新红.欧阳修词全集[M].武汉:崇文书局,2014.
[25]徐培均.淮海居士长短句笺注[M].上海:上海古籍出版社,1985.
[26]吴帆,李海帆.论李煜李清照词相似的审美特征及其成因[J].吉林大学社会科学学报,2006(4):142-148.
[27]朱彬.礼记训纂[M].北京:中华书局,1998.
[28]俞晓红.红楼梦评论笺说[M].北京:中华书局,2004.
[2]唐圭璋.词话丛编[M].北京:中华书局,1986.
[3]王国维.人间词话[M].北京:中华书局,2003.
[4]王兆鹏.唐宋词汇评:唐五代卷[M].杭州:浙江教育出版社,2004.
[5]曾昭岷.全唐五代词[M].北京:中华书局,1999.
[6]胡淑慧.晏殊、冯延巳词异同辨[J].北京理工大学学报(社会科学版),2005(3):38-40.
[7]唐圭璋.唐宋词简释[M].上海:上海古籍出版社,1981.
[8]况周颐.蕙风词话[M].北京:人民文学出版社,1960.
[9]钟嵘.诗品[M].北京:中华书局,1998.
[10]吴熊和.唐宋词汇评:两宋卷[M].杭州:浙江教育出版社,2004.
[11]陆侃如,冯阮君.中国诗史[M].济南:山东大学出版社,2000.
[12]宋华.晏殊词在唐宋词转型过程中的词史地位[J].文艺评论,2012(10):85-89.
[13]吴处厚.青箱杂记[M].北京:中华书局,1985.
[14]张舜民.画墁录[M].上海:上海古籍出版社,2012.
[15]吴小英.欧阳修词审美特色新论[J].社会科学辑刊,2003(5):163-166.
[16]陈匪石.宋词举[M].南京:金陵书画社,1983.
[17]陈定玉.论晏几道对令词发展的贡献[J].中国韵文学刊,1994(2):71-78.
[18]田维瑞,王建设.北宋词的发展与秦观词的艺术[J].武汉水利电力大学学报(社会科学版),2000(2):51-54.
[19]张璋.谈李清照的词学成就[J].文学遗产,1990(1):98-104.
[20]韩新,唐绍磊.论李清照的词学成就[J].山西师大学报(社会科学版),2009(3):61-69.
[21]詹安泰.李璟李煜词[M].北京:人民文学出版社,1958.
[22]晏几道.小山词[M].上海:上海古籍出版社,1985.
[23]徐培均.李清照集笺注[M].上海:上海古籍出版社,2002.
[24]谭新红.欧阳修词全集[M].武汉:崇文书局,2014.
[25]徐培均.淮海居士长短句笺注[M].上海:上海古籍出版社,1985.
[26]吴帆,李海帆.论李煜李清照词相似的审美特征及其成因[J].吉林大学社会科学学报,2006(4):142-148.
[27]朱彬.礼记训纂[M].北京:中华书局,1998.
[28]俞晓红.红楼梦评论笺说[M].北京:中华书局,2004.