论宋玉对“悲秋主题”与“山水题材”的开创 = Research on Song Yu's initiatives : sentiment for autumn and landscape literature.

• Main Author: 陈妙琴 Tan, Miow Qin
• Other Authors: School of Humanities and Social Sciences
• Format: Final Year Project
• Language: Chinese
• Published: 2013
• Subjects: DRNTU::Humanities
• Online Access: http://hdl.handle.net/10356/51331
• Institution: Nanyang Technological University

本文将通过笔者的资料所得，全面地分析与梳理整体发展脉络，期望突显出宋玉作品的审美意蕴和文化内涵。 本文结合了历史文献、专家著作等材料，将各别零星的资料进行统筹，总结出宋玉是开创“悲秋主题”和“山水题材”的祖师。 正文分为三章，为本文重点。第一章是探讨宋玉的文学源泉。宋玉文学作品背后的思想内容不仅是由他的身世背景构成。本文总结出他独特的生存环境、艺术才华以及思维方式也是创作背后不容忽视的重要因素。 第二章探讨宋玉为“悲秋主题”创始者，文本分析的代表作是《九辩》。《诗经》和楚辞当中已见秋日风景与感伤情怀的踪迹。但是古代文人只是为了渲染“悲秋”氛围而营造秋天意境。本文将《诗经》和楚辞与《九辩》进行了对比研究，梳理出宋玉首次体现出文学审美意识的自觉和加强。文学创作已不仅仅是处境与情感的巧合，而是有意识地在秋天之景与悲戚之情中找到了紧密的联系。 第三章论及宋玉为“山水题材”的始祖，文本分析的代表作是《高唐赋》。如同《诗经》和楚辞在塑造秋景的用意，山水景物在这两部作品的地位始终是扮演着陪衬的角色。本文也将这两部作品与《高唐赋》进行了对比分析，整理出了一项突破性的文学艺术发展——自然景物地位的提升。一草一木、一山一水经过宋玉笔下的细致刻画，尽显生机盎然的生动画面。 最后是结论。“悲秋主题”与“山水题材”的开创，代表着审美意识和描摹景物的文学艺术已随着时间的推移茁壮成长。 Using the author’s collective information, this thesis aims to highlight Song Yu’s aesthetic talent and cultural connotation through the comprehensive analysis and overall development of his literary works. In this paper, sporadic materials such as historical documents and experts’ writings were coordinated, summing up Song Yu as the founder of the theme ‘Sentiment for Autumn’ and the genre ‘Landscape Literature’. The focus of this paper is divided into 3 chapters. The first chapter is a discussion on Song Yu’s literature fountainhead. His family background was not the sole factor that contributed to the idea behind his works. This chapter summarizes other important factors, namely his environment, artistic talents and perspectives. The second chapter explores Song Yu’s achievement as the pioneer of the theme ‘Sentiment for Autumn. The text analysis will place focus on his masterpiece ‘Jiu Bian’. Traces of inculcating autumn with sorrow have already been found in The Book of Songs and The Book of Chu. However, writers in the past used this tactic play up the ‘Sentiment of Autumn’. This paper aims to perform a comparative study between the two and ‘Jiu Bian’, to emphasis on Song Yu’s pioneer incarnation of literary aesthetic consciousness and strength. This paper concludes that literary creation is no longer a matter of coincidence between a particular situation and emotion, but an effort to seek awareness between the two. The third chapter deals with Song Yu’s role as the earliest ancestor with regards to the theme of ‘Landscape Literature’. The text analysis will focus on his representative work ‘Gao Tang Fu’. Similar to The Book of Songs and The Book of Chu’s intention of shaping the sceneries of autumn, landscape has served the role of foil. Likewise, this paper will perform comparative analysis and in-depth study between The Book of Songs, The Book of Chu and ‘Gao Tao Fu’, sorting out a breakthrough in the development of literary arts – the enhancement in status of nature. Song Yu has injected life into his surroundings through the delicate carving of nature. Finally, the paper forms a conclusion. The initiations of the theme ‘Sentiment for Autumn’ and the genre ‘Landscape Literature’, signify the thriving of aesthetic talent and the arts of carving nature with the passing of time and wisdom of the past.