【作者】 王大恒；

【导师】 韩格平；

【作者基本信息】 东北师范大学 ， 中国古代文学， 2007， 博士

【摘要】 江淹历仕宋、齐、梁三朝，是我国南朝著名的文学家。本论文以其文学创作为主要研究对象，同时把他的创作与同时代作家进行必要的比较，并作历时性的梳理，追本溯源，沿波讨流，对其文学创作给予了准确的历史定位。中国古代的贬谪文学是近些年来学术界提出的一个新的论题，是从题材、内容上对古代文学所作的划分。江淹在贬谪期间的创作在古代贬谪文学中占有一定的地位，对其进行研究，会使古代贬谪文学的发展脉络更加清晰连贯。本文对其被贬的缘由、贬谪的地点、起始时间一一作以考证；并对其流传下来的被贬期间的著述，根据文集本身提供的作于贬所的内证，逐一进行了考证；在此基础上，从恋国思乡的情结；他乡异域的陌生孤独感；比兴手法的运用等方面，探讨了其贬谪作品对屈原模式的继承与发展。感伤是人类的一种低沉的生命情绪，江淹是中古时期的一位典型的感伤型文人。感伤类作品在他现存作品中所占比例很大，研究中国古代感伤文学不可忽视其存在。本文从其生活与仕途经历，性格特点，以及时代特征等几个方面对江淹作品感伤情调的成因进行了探讨；从恋生恨死、伤离惜别两大个方面探讨了《恨赋》、《别赋》所确立的其感伤作品的两大主脉；将江淹悼亡作品与其他前代作家同类作品作比较，梳理出从建安到齐梁悼妻、悼子、悼友文学作品的发展脉络。江淹所处的南朝是儒、道、释初步融汇的阶段，三种思想的交汇成为时代的潮流。江淹作为那个历史阶段的文人，他的作品体现了儒释道三者的融合，并且在这方面具有比较自觉的意识。本文结合其各类创作，分别分析了其作品中所体现的儒家、道家、佛家思想倾向。从中可以看出江淹对儒、道、释三家思想是兼容并蓄的，这直接导致其文学作品风格的多样化。江淹的文学创作所运用的文体种类繁多，有赋、诗、骚、颂、赞、书、传、论等。当时流行的主要文学样式，他几乎都尝试过。他的文体分类观念是清晰的，这集中体现在他对赋与骚的严格区分上。在以赋名题的作品中，基本上不出现骚体句式。同样，以骚体、楚辞作为篇名的作品，通常都采用骚体，而不用散体；同时，江淹的文体分类观念又是模糊的，比如同是称为赞，《云山赞》四首都是五言诗，而《铜剑赞》则是散文；《草木颂》十五首采用的不是汉代兴起的近于赋体的颂，而是四言诗；江淹的诗作主要以五言诗为主，五言诗是南朝主要的文体样式，江淹的创作在文体上符合时代潮流，可以说是与时俱进，具有一定的创新性。江淹的艺术思维体现了时代的新变，他改变了汉代以来以巨丽为美的思维模式，使得艺术思维关注对象转向纤细微小：他把时空推移和以类相缀两种谋篇布局的手法有机地结合，巧妙地运用，有时发挥到了极致：他在遣词造句方面的求奇尚异也使其作品体现出了独特的艺术思维特点。更多还原

【Abstract】 Jiangyan was an official from Song, Qi and Liang Dynasty. Moreover, He was a famous litterateur in South Dynasty. In this work study, his literature creations was takes as a main research object, Besides, a necessary comparison between his literature and the ones of literati in cotemporary, It’s get at the root of the matter trace to its source with History. As to the literature creations gave the accurate fixed in History.Exile literature as a branch of ancient literature classified with subject matter and content was a new thesis in academe recently. Jiangyan’s composition written in his exile times proportioned largely in ancient times exile literature. It is obvious that study on them would benefit to the development of the ancient times exile literature. In this work, the reasons of exile to Jiangyan, site and starting time were researched in detail, respectively. Be dead against his come down bookmaking in exile times, bases on proof which inside his bookmaking b(?) one by one carry on research. In addition, the succession and breakout in his exile writing to ones of Quyuan were discussed from his yearn for native land and hometown, loneliness in alien land and the application of parable and association technique, etc.Sentiment is a kind of depressed moodiness in people life. Jiangyan was a typical sentimental literator at mediaeval times. It is significant for Chinese ancient times sentimental literature to analyze the sentimental writing which proportioned largely in his living writing. In the paper, the causes of sentimental moodiness of jiangyan’s writing were analyzed from his experience of life and official career, character and characteristic of the times. The two dominating aspects of his sentimental writings were got by investigating《Hate ode》and《Leave ode》from love for life and hate for death, sentiment to parting. A comparison between Jiangyan’s elegy writing and ones of the precursors was made, so the course of the literature of elegy for wife, son and friend was obtained from Jianan times to Qi Dynasty and Liang Dynasty.Jiangyan lived in south Dynasty. At that time, Confucianism, Daoism and Buddhism began to converge and the convergence of the three thoughts became the trend of the times. Therefore, the convergence of Confucianism, Daoism and Buddhism was shown in Jiangyan’ writings and he was very self-conscious about it. Combination with his various kinds of literature was adopted and thought trends of Confucianism, Daoism and Buddhism were analyzed separately in. this paper. It was concluded that Jiangyan was compatible to the thoughts of Confucianism, Daoism and Buddhism, which resulted in the variety of his literature. Too many styles were used in Jiangyan’s literature, e.g. Ode, Poems, Worry, Song, Praise, Letter, Biography, Discuss, etc. He almost attempted to make use of the main and popular styles at that time. He had clear conception of classification on the style, which was shown on the strict difference between Ode style and Worry style. The Worry style was not used in the writing named after Ode style. Similarly, the Worry style was adopted generally and the Worry style wasn’t in the writing named after Worry style and Songs of Chu. On the other hand, his idea on style classification was indistinct. For instance,《Cloud mountain ode》and《The copper sword ode》were both named after Ode, but a poem with five characters to a line style was used in the former comprised of four parts and was Prose style was adopted in the. latter; Not Song style but a poem with four characters to a line was chosen in《The plant song》comprised of fifteen parts, in the fact, Song style was similar to Ode style and originated from Han Dynasty. It was known that a poem with five characters to a line was main style at South Dynasty and was used dominantly in Jiangyan’s poems. It was obvious that the style used in Jiangyan’s writing kept with the trend at that time and showed some innovation.Jiangyan’s art thought of composition described the changes of the times. He changed the magnificence thought since Han dynasty to minuteness; he combined shifting of time and ornament with similarity organically and sometimes he could exert the technique perfectly. His unique thought in the writing was revealed from the newness and novelty of construction of sentence and words.更多还原