書籍介紹
這是一本宜古宜今的書，從觀察魏晉南北朝詩學的智慧，滿足讀者窺探中國詩歌美感建立系統的慾望。全書說明研究主題、目的與方法，並探討背景及趨勢。將魏晉南北朝詩學、以及詩人、文學批評家、詩集與文學總集選集、文學批評論著等等條分縷析，總合歸納出魏晉南北朝詩學的審美意義、流變歷程、特色、地位及影響、對立與統一。
目次
目 次
第一章 緒 論 ··············································································· 1
第一節 研究動機與目的 ···························································· 1
一、研究詩學具有文學目的與意義 ·········································· 3
二、研究詩學具有史學目的與意義 ·········································· 4
三、研究詩學具有哲學目的與意義 ·········································· 5
四、研究詩學具有心理學目的與意義 ······································· 6
五、研究詩學具有社會學目的與意義 ······································· 7
六、研究詩學具有政治學目的與意義 ······································· 7
第二節 研究方法 ····································································· 8
一、批判研究法 ·································································· 9
二、歸納研究法 ································································ 11
三、演繹研究法 ································································ 12
四、宗派研究法 ································································ 14
五、時代研究法 ································································ 16
六、問題研究法 ································································ 18
七、比較研究法 ································································ 19
八、傳統研究法 ································································ 23
九、科際整合研究法 ·························································· 23
十、文學研究法 ································································ 24
十一、歸納統計研究法 ······················································· 25
第三節 相關文獻探討 ····························································· 25
第四節 魏晉南北朝詩學的涵義及其存詩概況 ······························· 27
一、魏晉南北朝的涵義 ······················································· 28
（一）歷史學者定名與劃分 ·········································· 28
（二）文學史學者定名與劃分 ······································· 29
二、詩學涵義 ··································································· 30
（2） 魏晉南北朝詩學研究
三、魏晉南北朝存詩概況研究：從詩人個別創作數量及比例分析 31
第二章 魏晉南北朝詩學發展的內因與外緣 ········································ 40
第一節 玄學興盛影響 ····························································· 40
第二節 長期政爭與戰亂 ·························································· 42
第三節 人物美學的評品與倡導 ················································· 44
第四節 儒學的逐漸衰微 ·························································· 46
第五節 山水文學另闢蹊徑 ······················································· 47
第六節 擺脫經學，詩人的自覺 ················································· 49
第七節 詩歌與文學批評風氣的消長 ··········································· 50
第八節 寫實詩與浪漫詩平分秋色 ·············································· 52
第九節 詩人與詩學家多有其政治地位或所屬集團 ························· 54
第三章 魏朝詩學 ·········································································· 55
第一節 曹操詩學 ··································································· 55
一、重視詩歌經世功能 ······················································· 56
二、崇尚詩人個性才情與講究詩歌韻律 ································· 58
三、詩學成就與地位 ·························································· 60
第二節 曹丕詩學 ··································································· 64
一、詩賦欲麗 ··································································· 67
二、為興趣與娛樂而作 ······················································· 71
三、詩文地位論 ································································ 73
四、以「氣」論詩文 ·························································· 78
五、詩學成就與地位 ·························································106
第三節 曹植詩學 ··································································111
一、論詩歌創作地位持肯定態度 ·········································· 115
二、雅好慷慨 ··································································120
三、文質並重 ··································································122
四、重視民間詩歌 ····························································125
五、詩人、詩學家與讀者各有主觀好惡 ································130
六、繼承興觀群怨說 ·························································132
目 次 （3）
七、重視詩人生平遭遇對詩歌作品的影響 ·····························139
第四節 應璩詩學 ··································································148
一、詩學以補時政 ····························································148
二、以詩為寓言 ·······························································149
三、詩歌獨立不懼 ····························································150
第五節 嵇康、阮籍詩學 ·························································153
一、玄遠自然為詩學基礎 ···················································153
二、聲無哀樂為詩學核心 ···················································155
三、越名教而任自然為詩學實踐方針 ····································157
四、阮籍詩學 ··································································161
第六節 其他：吳質、徐幹與應瑒詩學 ·······································165
一、吳質詩學 ··································································165
二、徐幹詩學 ··································································175
三、應瑒詩學 ··································································181
第七節 魏朝詩學的審美意義 ···················································184
一、詩賦欲麗的審美意義 ···················································185
二、以氣論詩文的審美意義 ················································190
三、提高詩文地位的審美意義 ·············································195
四、詩歌為娛樂與抒情之作的審美意義 ································198
五、以氣論文用音樂作譬喻的審美意義 ································203
六、對於各種詩風個性包容的審美意義 ································207
七、文質並重的審美意義 ··················································· 211
第四章 晉朝詩學 ·········································································213
第一節 張華詩學 ··································································213
一、創作華艷 ··································································214
二、先情後辭 ··································································214
三、力求簡潔 ··································································215
四、樂府詩體現諷喻勸誡傳統 ·············································216
五、詩歌巧用文字影響後世 ················································216
六、擬古中寓於創造 ·························································216
（4） 魏晉南北朝詩學研究
第二節 左思詩學 ··································································217
一、詩重高曠 ··································································218
二、詩歌精神積極進取 ······················································219
三、〈三都賦〉序與詩學 ···················································220
第三節 陸機詩學 ··································································223
一、緣情綺靡 ··································································223
二、按部考辭 ··································································224
三、除煩去濫 ··································································226
四、宣風正俗 ··································································227
五、陸機詩學的影響與地位 ················································229
第四節 陶淵明詩學 ·······························································231
一、以形寫神 ··································································234
二、重視詩歌象徵藝術美 ···················································241
第五節 其他：摯虞、葛洪 ······················································249
一、摯虞詩學 ··································································249
二、葛洪詩學 ··································································253
第六節 晉朝詩學的審美意義 ···················································261
一、從言志到緣情的審美意義 ·············································262
二、以形寫神的審美意義 ···················································263
三、繼承與創新突破的審美意義 ··········································264
第五章 南朝宋詩學 ······································································268
第一節 謝靈運、謝朓詩學 ······················································268
一、謝靈運詩學 ·······························································268
二、謝朓詩學 ··································································271
第二節 鮑照詩學 ··································································276
一、抒情與敘事結合敘述方法 ·············································276
二、以樂府詩表現激憤不平之情 ··········································277
三、詩學地位與影響 ·························································281
第三節 謝莊詩學 ··································································285
一、促進近體詩詩律完成 ···················································285
目 次 （5）
二、詩律與抒情兼顧 ·························································287
第四節 其他：顏延之、《世說新語》 ·······································289
一、顏延之詩學 ·······························································289
二、《世說新語》反映的詩學 ·············································297
第五節 南朝宋詩學的審美意義 ················································300
一、繼承傳統儒家詩學，並掌握詩歌美感特質 ·······················300
二、關注山水詩的審美觀 ···················································301
第六章 南朝齊梁詩學（一） ·························································304
第一節 沈約詩學 ··································································305
第二節 蕭統詩學 ··································································313
一、詩歌緣情 ··································································314
二、詩歌發展由質樸趨向華美 ·············································316
第三節 蕭繹詩學 ··································································321
一、區分詩歌與其他應用文學 ·············································323
二、重視詩人創作的才能 ···················································324
三、重視民間詩歌 ····························································326
四、詩歌本質重在表達情感 ················································326
五、重視詩歌教化作用與用典 ·············································328
第四節 蕭綱、蕭子顯、裴子野 ················································330
一、蕭綱詩學 ··································································330
二、蕭子顯詩學 ·······························································335
三、裴子野詩學 ·······························································337
第五節 其他：徐摛、庾肩吾、劉遵、劉潛、陸罩詩學··················341
一、徐摛詩學 ··································································341
二、庾肩吾詩學 ·······························································343
三、劉遵詩學 ··································································344
四、劉潛詩學 ··································································345
五、陸罩詩學 ··································································346
第六節 南朝齊梁詩學的審美意義 ·············································346
一、聲律論審美意義 ·························································346
（6） 魏晉南北朝詩學研究
二、解讀當時詩歌主要風格，並兼及非主流詩風 ····················348
三、梁代詩學焦點集中考察詩歌美與藝術的感性形式 ··············349
四、詩學力求新變 ····························································351
第七章 南朝齊梁詩學（二）：劉勰詩學 ··········································354
第一節 詩歌涵義 ··································································354
一、強調詩歌的教化意義 ···················································355
二、詩歌體式不同，意義也隨之改變 ····································357
三、與詩歌相關文體，意義上也受詩歌影響 ··························363
四、由內容與形式，雙管齊下，界說詩歌定義 ·······················365
第二節 追溯詩歌源流，探賾詩歌發展 ·······································369
一、詩歌源於自然情性 ······················································370
二、追索民間樂府的源流與發展 ··········································378
三、後世文體源出於五經，詩歌應稟承《詩經》精神 ··············383
第三節 評論詩歌作品標準 ······················································392
一、《詩經》為所有詩歌的最高準則 ····································393
二、「折衷」為評詩的態度 ················································396
三、「唯務折衷」為評詩的整體標準 ····································403
第四節 創作詩歌方法與原則 ···················································412
一、重視詩歌精神涵義 ······················································414
二、抒發情志，兼顧形式，並且以《詩經》為創作指導原則 ·····418
三、詩歌語言從謀篇裁章，至鍛字鍊句，皆要精當 ·················420
四、詩歌要同時兼顧繼承與創新 ··········································422
五、詩歌創作靈感沒有一定道理，然而創作原則卻有固定規格 ··423
六、詩歌基本的「道」，一為自然，一為《詩經》 ·················426
七、詩歌隨不同形式，創作原則與方法相對因應 ····················428
八、詩人可根據自己才情性格，選擇作詩方式 ·······················429
九、時代風氣與政治干預，會影響詩歌創作原則與方法 ···········430
十、要因情感而創作詩歌，而非因創作詩歌而造情 ·················431
十一、教化意義轉為詩歌藝術創作原則 ································433
十二、詩歌創作應講究「情景交融」、「情貌無遺」 ·目 次 （7）
十三、詩人體物「形似」之外，典雅簡約，勿過分堆砌 ···········438
十四、詩歌巧構形似，要以情志為主體，物色描寫為輔 ···········441
十五、詩歌創作為完整有機體 ·············································443
十六、詩歌要掌握聲音韻律變化 ··········································446
十七、詩人創作詩歌，聲律和諧猶如音樂 ·····························450
十八、詩歌要掌握聲調、雙聲疊韻、發音部位與和韻 ··············452
第五節 劉勰詩學的審美意義 ···················································454
一、兼顧詩學內容與形式 ···················································455
二、詩學內容與現實景物融合，由清議轉為清談 ····················456
三、詩學的繼承與創新 ······················································460
四、深入探究詩歌特徵 ······················································460
五、論證詩歌風格的審美意義 ·············································464
六、詩歌欣賞與批評 ·························································465
七、重視詩人學識品德的修養 ·············································466
第六節 劉勰詩學的影響與地位 ················································470
一、通變的詩學轉向 ·························································470
二、崇正傾向的驗證 ·························································472
第八章 南朝齊梁詩學（三）：鍾嶸詩學 ··········································474
第一節 詩歌涵義 ··································································485
一、詩歌的涵義，在於有「滋味」 ·······································486
二、詩歌聲調論 ·······························································488
三、詩歌中「怨」、「群」與「情」的構成要素 ····················492
四、詩歌討論範圍，止乎五言 ·············································500
第二節 詩歌起源與演變歷史 ···················································503
一、詩歌起源於自然律動之真與詩人性情 ·····························504
二、探索五言詩發展 ·························································505
三、以研究詩歌史為詩學發展之基礎 ····································507
四、追溯詩人源流的詩學術語 ·············································509
五、分中國詩歌淵源為三個體系 ··········································510
第三節 詩歌批評方法論 ·························································512
（8） 魏晉南北朝詩學研究
一、評比詩人與詩歌，分列三品 ··········································513
二、對以已往的詩人為評選對象 ··········································518
三、評選詩歌要合乎自然美，反對錯采繁縟 ··························519
四、將詩人與作品評品定其優劣評品標準 ·····························523
五、評比時採華美詩風 ······················································527
六、評比時重視詩歌的特性 ················································529
七、重詩歌情感與文采 ······················································532
第四節 詩歌寫作原則與方法 ···················································540
一、詩歌要言盡卻意有餘 ···················································542
二、詩歌寫作要文質並重 ···················································545
三、優秀詩歌創作由「直尋」而來 ·······································546
四、詩歌創作為內外在因素組合 ··········································549
五、詩歌創作要含蓄蘊藉 ···················································551
六、詩歌創作要重視技巧與精神 ··········································554
第五節 鍾嶸詩學的審美意義 ···················································563
一、重視詩人與讀者內在心靈在審美上的作用 ·······················563
二、標舉詩學以審美為中心 ················································564
三、沿波探源，釐清詩歌歷史 ·············································567
四、評賞名篇佳句，具體表述詩歌美感 ································568
五、歷來對鍾嶸《詩品》溯源與分品的評價爭議 ····················570
六、《詩品》在中國詩學的地位 ··········································575
第九章 南朝陳詩學 ······································································576
第一節 徐陵詩學 ··································································576
一、重視詩歌發展歷史 ······················································577
二、詳今略古 ··································································580
三、趨向新變 ··································································581
四、以女性為詩歌主要審美對象 ··········································583
第二節 其他：陳叔寶、顧野王、劉師知 ····································585
一、陳叔寶詩學 ·······························································585
二、顧野王詩學 ·······························································589
目 次 （9）
三、劉師知詩學 ·······························································592
第三節 南朝陳詩學的審美意義 ················································594
一、南朝陳詩學的審美意涵 ················································595
二、徐陵選詩重輕艷 ·························································595
第十章 北朝詩學 ·········································································598
第一節 顏之推詩學 ·······························································598
一、顏之推與北朝詩歌活動情形 ··········································599
二、重視詩歌意境 ····························································601
三、南北方詩歌評準不同 ···················································603
四、重視詩歌用字精確 ······················································605
第二節 宇文泰、蘇綽詩學 ······················································606
一、力矯南朝靡麗的詩風 ···················································607
二、主張詩文復古 ····························································607
第三節 其他：庾信、魏收 ······················································608
一、庾信詩學 ··································································609
二、魏收詩學 ··································································613
第四節 北朝詩學的審美意義 ···················································616
一、審美標準仍受儒家詩學影響 ··········································616
二、呈現北朝剛健樸直的詩學 ·············································618
第十一章 結 論 ·········································································621
一、重視詩歌形式 ····························································621
二、詩歌緣自於情，抒情功能的重新強調與發揚 ····················623
三、探討詩歌的源流 ·························································628
四、追求聲律美 ·······························································630
五、詩人對詩學的自覺 ······················································633
六、推廣久受壓抑的情慾題材 ·············································637
七、詩作多元發展，引發近體小詩的產生 ·····························641
八、影響後世詩學觀念與批評形式 ·······································646
（10） 魏晉南北朝詩學研究
引用文獻 ·····················································································649
一、書籍 ···············································································649
（一）古籍 ···································································· 649
（二）今著 ···································································· 653
二、中華民國期刊論文 ····························································659
三、中國大陸期刊 ··································································680
四、中華民國學位論文 ····························································703
五、中國大陸學位論文 ····························································716
附 錄 ························································································723
1-1 中華民國國內有關魏晉南北朝詩學與詩歌研究學位論文一覽表 ····723
1-2 魏晉南北朝詩歌統計表 ························································743
7-1《文心雕龍》論詩人與詩作統計表 ·········································771
8-1《詩品》論詩人與詩作統計表 ···············································782
8-2 劉勰與鍾嶸詩學比較表 ························································800
·············436
分類
其他詳細資訊
- 出版品網址（線上版或試閱版)：連結
- 適用對象：成人(學術性)
- 關鍵詞：詩學，魏晉南北朝，詩歌理論，中國文學，文心雕龍
- 附件：無附件
- 頁/張/片數：810
授權資訊
- 著作財產權管理機關或擁有者：國家教育研究院
- 取得授權資訊：聯絡處室：國家教育研究院
姓名：郭騰淵
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