【作者】 王静；

【导师】 陈道贵；

【作者基本信息】 安徽大学 ， 中国古代文学， 2023， 硕士

【摘要】 漏刻从远古时期开始便具有十分重要的社会属性,除时间属性外,也有对政治及礼乐的某种追求。在先前涉及漏刻的各种文献资料中,漏刻多被用作祭祀或简单计时,并未出现过多与文学相关的特质。有唐一代,漏刻属性有所拓宽,文学性增强。漏刻逐渐入诗,为唐诗意象研究提供了新的思路和角度。唐诗中涉及“漏”意象的诗歌数量可观。笔者根据《全唐诗》(含《补编》)统计,唐诗涉及“漏”意象的作品,约三百余首。本文以此为研究对象,对唐诗中的“漏”意象进行梳理研究:绪论部分明确“漏”意象的概念,对其进行界定,阐述唐诗“漏”意象的研究现状、方法及意义。第一章对“漏”意象内蕴进行探源。首先探究“漏”之含义,包括本义及引申义。其次以唐代为分界点,研究唐前“漏”之属性,加以文学作品具体分析得出唐前“漏”介于文学与生活之间的结论。最后探究“漏”在唐代的发展情况,即在唐前文人使用“漏”的基础上,唐人关注到漏刻,推动“漏”的逐渐入诗。于唐代,“漏”之文学功能渐备,并逐渐成为文学意象。第二章论述唐诗“漏”意象的运用特点。将唐代涉及“漏”意象的诗歌作品,详细整理归纳并制成表格进行说明。再对“漏”意象的时代及题材分布情况进行梳理,辅以表格比较。最后探究其时代、题材分布不均的成因,即历史背景的不同、诗人群体的多样及创作重心的变化。第三章为唐诗“漏”意象的主题意蕴,分析“漏”意象具体使用情况。从四类题材进行探究,具体分析诗人诗作,并总结不同诗歌题材中“漏”意象对主题内蕴的书写:应制诗中对宴饮、出游盛况的描写;爱情诗中对闺中忧思、七夕相会的表达;写景诗中对风光的描摹及诗人情感的抒发;政治诗中的政治叙事与政治讽喻。第四章以文人心态为切入点,将诗歌分类并具体分析,进一步对唐诗“漏”意象进行研究。将诗歌分为三大类,首先是对时光的感叹,包括青春不再的感慨与时光流逝的无奈,诗人将情感融入漏刻中,赋予“漏”意象主观性特点。其次是对羁旅的叹息,包括思乡怀人的抒发与分别重逢的宣泄,诗人以“漏”营造凄冷愁苦之意境,进而表达内心不舍之情。最后是对仕途浮沉的思考,包括身处朝野与怀才不遇的状态抒写,诗人于此表达自己内心对仕途的渴望。结语部分强调唐诗“漏”意象的研究价值,一方面表现唐人在生活中对时间的关注,时间意识的增强,另一方面将“漏”意象背后的文人心态展现出来,为后来的意象研究提供一定帮助。更多还原

【Abstract】 Since ancient times,the clepsydra have had very important social attributes,and in addition to the temporal attributes,there was also a certain pursuit of political and ritual music.In the various documents related to clepsydra,clepsydra was mostly used for rituals or simple timekeeping,without much literary-related qualities.In the Tang Dynasty,the attributes of clepsydra were broadened and their literary nature increased.The gradual introduction of clepsydra into poetry has provided new ideas and perspectives for the study of Tang poetry imagery.The number of poems in Tang poetry involving "clepsydra" imagery is considerable.According to the author’s statistics from the Complete Tang Poems(including the Supplements),there are more than 300 poems in Tang poetry that involve "clepsydra" imagery.In this paper,we will take this as the object of study and sort out the "clepsydra" imagery in Tang poems.The introductory section defines the concept of "clepsydra" imagery,and explains the current status,methods and significance of the study of "clepsydra" imagery in Tang poetry.The first chapter explores the origin of "clepsydra" imagery.First,the meaning of "clepsydra" is explored,including its original meaning and its derivation.Secondly,using the Tang dynasty as the dividing point,we study the properties of "clepsydra" before the Tang Dynasty,and analyze the literary works to conclude that "clepsydra" before the Tang Dynasty was between literature and life.Finally,we explore the development of "clepsydra" in the Tang Dynasty,that is,on the basis of the use of "clepsydra" by literati before the Tang Dynasty,the Tang people paid attention to clepsydra and promoted the gradual introduction of "clepsydra" into poetry.During the Tang Dynasty,the literary function of "clepsydra" became ready and gradually became a literary imagery.The second chapter discusses the characteristics of the use of "clepsydra" imagery in Tang poetry.The poems of the Tang dynasty that involve "clepsydra" imagery are summarized in detail and illustrated in a table.Then,we will sort out the period and subject distribution of "clepsydra" imagery and compare them with the tables.Finally,the reasons for the uneven distribution of periods and themes are explored,namely,the different historical backgrounds,the diversity of poet groups,and the changes in creative focus.The third chapter is devoted to the thematic implications of the "clepsydra" imagery in Tang poetry,and analyzes the specific use of the "clepsydra" imagery.The poets’ poems are analyzed in four categories,and the thematic implications of "clepsydra" imagery in different poetic themes are summarized : descriptions of feasts and trips in response poems;expressions of boudoir worries and Tanabata meetings in love poems;descriptions of scenery and expressions of poets’ emotions in landscape poems;and political narratives and metaphors in political poems.political narratives and political metaphors in political poetry.The fourth chapter takes the mentality of the literati as an entry point,classifies and analyzes poetry,and further studies the "clepsydra" imagery of Tang poetry.The poems are divided into three main categories: firstly,the lamentation of time,including the lamentation that youth is no more and the helplessness of time passing by.The poet integrates the emotion into the clepsydra,and endows the "clepsydra" image with subjective characteristics The second is a sigh of regret for travel,including the expression of homesickness and reunion,and the poet uses "clepsydra" to create a miserable and sorrowful mood,thus expressing his feelings of reluctance.Finally,the poet expresses his thoughts on the ups and downs of the career,including the state of being in the court and the state of being unsuccessful,where the poet expresses his inner desire for the career.The concluding section emphasizes the research value of the "clepsydra" imagery in Tang poetry,showing on the one hand the Tang people’s concern for time in their lives and the enhancement of time,and on the other hand showing the mentality of the literati behind the "clepsydra" imagery,providing some help for later imagery research.更多还原