谢灵运与谢朓山水诗的对比研究毕业论文_汉语言文学毕业论文

谢灵运与谢朓山水诗的对比研究毕业论文

2021-04-06更新

摘 要

ABSTRACT 2

  1. 前言 4
    1. 研究背景 4
    2. 研究现状 5
  2. 谢灵运和谢朓山水诗的艺术特点比较 6
    1. 表现景物方面 6
      1. 对景的选择 6
      2. 观景 6
      3. 写景 7
    2. 结构特征比较 8
    3. 语言特色比较 9
    4. 具体意象比较 10
      1. 云意象 10
      2. 飞鸟意象 11
  3. 谢灵运和谢朓山水诗的思想情感比较 13
    1. 二者思想情感的不同点 13
    2. 归隐思想 14
  4. 谢灵运和谢朓的山水诗对后代诗歌的影响 15
    1. 谢朓开创永明体诗风并促进其转型 15
    2. 谢灵运山水诗的贡献 16

结 论 17

参考文献 18

致 谢 19

中文摘要

本文以谢灵运和谢朓为研究对象,二者都是山水诗的集大成者,他们同为谢氏族人, 也同样是南朝的著名诗人,他们的山水诗歌存在着一定的共性和差异性。本文采用比较的分析方法,对谢灵运和谢朓的山水诗展开比较研究。

本文分为四部分来进行论述。第一部分主要论述了谢灵运和谢朓二人的人生经历和性格特征对其创作山水诗的影响。谢灵运因出众的家世而狂妄自大,对待山水常以“主人”自居而谢朓出生在家族没落时期,性格谨小慎微,他把自己和山水放在了一个相对平等的位置,因此谢朓对待山水的态度要比谢灵运亲近得多。第二部分从表现景物、结构特征、语言特色以及具体意象这四个角度进行艺术特征比较。谢灵运采用动态记游的观景方式,选景相对陌生化;谢朓倾向于选取平易近人的景物,并善于将景物的一点进行不断强化。谢灵运诗歌以叙事——写景——说理的表达方式,让诗歌结构相对程序化; 谢朓诗歌结构灵活,情景之间过度自然。谢灵运的诗歌讲究实用性,用写实的语言来向读者展示真实的场景;谢朓在诗歌上追求“语句圆润,音律和谐”,具有清新自然的语言特色。飞鸟和云作为二者山水诗中都曾出现过的意象,他们之间存在着共性和差异性。第三部分从谢灵运和谢朓山水诗的思想情感方面进行论述。谢灵运的山水诗中存在着一些不平之气,而谢朓的山水诗则更多表现个人情感的抒发,在矛盾中向现实妥协的无奈之情。因政治上的失意使得谢灵运和谢朓都在山水诗中流露出了隐逸思想。第四部分论述了谢灵运和谢朓对山水诗的不同影响。谢灵运从题材上扭转了玄言诗风,具有开山作用;谢朓作为“永明体”的重要开创者,对诗歌的发展做出了极大的贡献。

关键词:谢灵运;谢朓;山水诗对比

ABSTRACT

This article takes Xie Lingyun and Xie Tiao as the research objects. Both are the masters of the landscape poetry. They are also the Xie clan and also the famous poets of the Southern Dynasties. Their landscape poetry has certain commonalities and differences. This article adopts a comparative analysis method and compares Xie Lingyun’s and Xie Tiao’s landscape poems.

This article is divided into four parts for discussion. The first part mainly discusses the influence of the life experience and character of Xie Lingyun and Xie Tiao on their landscape poems. Xie Lingyun was arrogant because of his outstanding family background. He often treated the landscape as “master” and Xie Tiao was born in the period of family decline. He was cautious about his character. He put himself and the landscape in a relatively equal position, so Xie Tiao treats the landscape. The attitude is much closer than Xie Lingyun. The second part compares the artistic features of the four aspects of scenes, structural features, language features, and concrete images. Xie Lingyun adopts a dynamic recording tour mode, and the selection scene is relatively unfamiliar. Xie Tiao tends to select the approachable scenery and is good at gradually enhancing the scenery. Xie Lingyun’s poetry uses narrative – scene description – the expression of reasoning, so that poetry has a certain degree of stylization; Xie Tiao poetry is flexible in structure and over-natural between scenes. Xie Lingyun’s poetry emphasizes pragmatism and uses realistic language to present readers with real scenes. Xie Tiao pursues “rounded words, harmony of melody” in poetry and has fresh and natural language features. The birds and cloud imagery are common and different in imagery that existed in both landscape poems. The third part discusses the ideological and emotional aspects of Xie Lingyun’s and Xie Tiao’s landscape poetry. Xie Lingyun’s landscape poetry contains a kind of insatiable gas. Xie Yiao’s landscape poetry shows more expressions of personal emotions and compromises with the reality in contradictions. Because of the political frustration, Xie Lingyun and Xie Tiao all revealed secluded thoughts in the landscape poetry. The fourth part discusses the different influence of Xie Lingyun and Xie Tiao on landscape poetry. Xie Lingyun reversed the poetry of metaphysics from the subject matter and

had a pioneering role; Xie Tiao, as an important pioneer of the “Yong Ming Style”, made a great contribution to the development of poetry.

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