【作者】 李梅；

【导师】 王德明；

【作者基本信息】 广西师范大学 ， 中国语言文学， 2019， 硕士

【摘要】 词法,即词的创作法则和技巧的总称。词这一文学样式,始于唐,在两宋发展至巅峰,此后文人的词创作很难能超越前代。宋人对词有着丰富的创作经验,为了创新词的创作,以及试图挽救渐渐衰微的词体命运,他们总结创作经验,探究作词法。宋人对词法的研究承载着有宋一代文人们对词的独特审美特征以及他们时代的精神。《词源》和《乐府指迷》是宋人对词法的研究的理论结晶,无论在当时还是后世都有指导的意义。本文将从这两本着作出发,并结合其他词话以及诗话中,重点研究其中的词法理论,从中探讨宋人词法研究的形成与其研究之得失。论文共分为六个部分。绪论部分阐述了本文的研究意义与研究方法以及相关的研究现状,并对“词法”做了简单的释义。第一章、第二章分别对沈义父《乐府指迷》和张炎《词源》中的词法理论进行详细的论述,对其分别从音律论以及创作技巧论两方面进行展开。创作技巧论又从:章法技巧、句法技巧、字法技巧、艺术手法技巧、命意技巧这五个方面展开论述。第三章对张炎与沈义父两人的作词法作比较。以前两章对两人词法理论的分析为基础,从音律、章法、句法、字法以及其它形式上的内容进行比较。第四章是其他词话和诗话中的词法研究。宋人研究词法的专著虽只有《词源》和《乐府指迷》两本,但在其他词话和诗话中亦有不少论及词法内容。本章从词话和诗话两方面,分别论述了苏轼及其弟子门生、李清照的《词论》和王灼的《碧鸡漫志》这些词话的词法内容,以及诗话中胡仔《苕溪渔隐丛话》和姜夔《白石道人诗说》的词法研究。第五章是宋人词法研究的形成。论述了宋人词法研究的形成是一个循序渐进的过程,从对经验的总结,到对规律的探索,再到对具体的技巧层次,是从“形而上”再“形而下”层面的过程。在形成过程中并吸取诗法、文法研究的精华,融会贯通,构成词法理论。最后第六章,论述宋人词法研究的得失。宋人词法研究维护了词体本色,促进了词学的发展,对后世的影响亦是巨大的,但同时也存在有其局限性。更多还原

【Abstract】 Ci methods is the general term for the creation rules and techniques of words.Ci,a literary style,began in the tang dynasty and reached its peak in the song and song dynasties.Song people had rich experience in Ci writing.In order to innovate Ci writing and try to save the declining Ci writing style,they summarized their writing experience and explored ci writing.The research on the Ci methods of the song dynasty bears the unique aesthetic characteristics of Ci and the spirit of their times.Ciyuan and the Yuefuzhimi are the theoretical crystallization of the song people’s research on Ci methods,which have guiding significance both at that time and later.Starting from these two works,this paper focuses on the theory of morphology,from which it discusses the formation of the study of Ci methods of the song dynasty and its gains and losses.The paper is divided into six parts.The introduction describes the research significance,research Ci methods and related research status of this paper.In addition,Ci methods is simply defined.Chapter one and chapter two respectively discuss the Ci methods theory in ShenYifu’Yuefuzhimi and zhangYan’s Ciyuan.It is divided into two parts: the theory of rhythm and the theory of creative technique.There are five aspects in the theory of creative skills: the skills of organization and construction,the skills of syntax,the skills of characters,the skills of artistic technique and the skills of destiny.The third chapter makes a comparison between zhangYan and shenYifu.Based on the analysis of their lexical theories in the previous two chapters,this paper makes a comparison between them in terms of phonology,grammar,syntax and other forms.The fourth chapter is the formation of the song dynasty morphology.Poets in the research of Ci Methods,though only the Ciyuan and the Yuefuzhimi,but also in other Cihua and Shihua have a lot of discussion on the content of Ci Methods.This chapter discusses the Ci methods of SuShi and his disciples,LiQingzhao’s Cilun and WangZhuo’s Bijimanzhi from the Cihua,as well as the Ci methods in Shihua byHuZai’s Shaoxiyuyinconghua and JiangKui’s Baishidaorenshishuo.The fifth chapter is the formation of the Ci Methods study of song people.It’s a gradual process.From the summary of experience,to the exploration and summary of the law,to the level of specific skills,from the "metaphysical" to "physical" level of the process.In the process of formation and absorb the essence of the study of poetry,grammar,mastery of the formation of Ci methods theory.In the last chapter,the author discusses the gains and losses of the research on the Ci methods of song people.The research on the Ci methods of song dynasty maintains the original quality of Ci and promotes the development of Ci studies.更多还原