【作者】 张蕾；

【导师】 詹福瑞；

【作者基本信息】 河北大学 ， 中国古代文学， 2004， 博士

【摘要】 《玉台新咏》是六朝时期一部重要的诗歌总集。它伴随梁代新变文学思潮应运而生，具有成熟的编辑理念。所收诗歌围绕预定主题题材，显豁地映现出“情”在梁代文人语境中的狭隘化含义及其娱悦走向。徐陵也因编纂《玉台》而在文学史上毁誉不一。 《玉台新咏》与《文选》选诗存在相重现象，这并非偶然的巧合，而是由于这两部总集所代表的梁代文坛的两派，即新变派与通变派在批评观念、审美趣味方面存在“共同语言”，汇成了梁代文学思潮的主流。 《玉台新咏》在诗歌史上影响深远，尤其是它在传播接受过程中出现的一系列文学现象，包括刊刻时的增益、续集的编定、拟玉台体诗代不鲜见等等，都值得关注。明刻本增补《玉台新咏》的价值在于：充分回应了原编旨趣；增补诗歌一定程度上弥补了原编的遗珠之憾；增补作者特别是对萧统、裴子野诗的补录，能够引发我们对梁代文坛三派格局的重新思考；增益行为本身是对《玉台新咏》的一种特殊的接受方式，体现了中晚明士人的审美趣尚。流传至今的《玉台新咏》的两个完整续集即《续玉台新咏》与《唐诗玉台新咏》，表明了《玉台新咏》所录诗歌对于陈、北朝、隋、唐各代诗歌创作的借鉴意义。现存拟玉台体诗分布于唐、宋、元、明各代，诗人们以自己的感受捕捉与复现“玉台体”的特色，从而使其含义约定俗成。 《玉台新咏》研究自古及今相沿不绝，总的趋势是由感性判断逐步向理性论考转变。清代诗论家纪昀的《玉台新咏》研究即带有转型的特色，能够代表正统文人对艳体文学创作的态度。在诗教法则的严守与变通之间，纪昀精审考校、品鉴赏读、论析源流，为《玉台新咏》研究最终回归文学本位做出了卓有成效的努力。更多还原

【Abstract】 Introduction of the Author: Zhang Lei, was born in 1965. Under the guidance of prof. Zhan Fu-rui, she will award the Dr. Degree of Literature at Hebei University in June 2004.Title of Dr. degree’ s Thesis: On Yu TaiXin YongAbstract: Yu Tai Xin Yong is an important collection of poems in the Six Dynasty. Its publication is due to the mutation of literary thoughts of the Liang Dynasty, from which ripe ideas of compiling can be seen. The feeling of love is obviously inhered in its motif of selected poems, indicating that the Liang scholars had a tendency toward parochialism and entertainment. Xu Ling, compiler of Yu Tai Xin Yong, has both good and ill reputation.It is not a coincidence that Yu Tai Xin Yong and Wen Xuan had simultaneous existence, but a necessity that both collections became representatives of two schools of literary community of the Liang Dynasty, namely, mutation and adaptation in their likeness of political ideas and aesthetic taste. This is also the artery of the Liang literature.In the history of poetry Yu Tai Xin Yong has produced a profound influence on a train of literary phenomena such as printing of its amplification, compiling of its continuations, appearance of its replication and so forth. All of these are worth giving more attention and explanation. Its enlarged edition block-printed in the Ming Dynasty has the same purport as the original one, makes up some deficiencies, adds some poets of especially Xiao Tong and Pei Ziye, leading to our rethinking of three schools of literary community in that dynasty. Amplification itself is a special way of acceptance that suggests the aesthetic taste of the middle and late Ming Dynasty scholars. Its two complete continuations that have handed down to today are Continued Yu Tai Xin Yong and Tangshi Yu Tai Xin Yong, displaying that selected poems in Yu Tai Xin Yong have close relationship with poems in the dynasties of Chen, North, Sui and Tang. The existing Yutai-formed poems were written separately in. the dynasties of Tang, Song, Yuan and Ming. These poets copied Yutai-formed poems in their own style and made it accepted by the people.Studies on Yu Tai Xin Yong have been on since its appearance, generally speaking, along the tendency from sensibility to rationalism. Researches of Yu Tai Xin Yong had a turn till Ji Yun, a poetic critic of the Qing dynasty, who represented the attitude of orthodox scholars toward literature of love. Ji Yun gave a careful study of Yu Tai Xin Yong in its proofreading, enjoyment, origination and circulation, and thus made effective contributions to its restoration as a work of literature.更多还原