作　　者： ;

机构地区： 台湾中山大学

出　　处： 《北京化工大学学报（社会科学版）》 2005年第4期40-45,共6页

摘　　要： 传统诗学发展到清代,众多审美意识纷然涌现,其体系建立的思维理路,大都呈现极为明显的折中趋向,其主要原因是有鉴于明代诗坛之各立门庭,党同伐异,纷纷扰扰,莫衷一是。其思维模式则从反思明代诗坛流弊起始,而上溯影响明代诗坛流弊之灶因,扬长去短,然后有破有立,再融合个体之审美意识,以成其一家之言。本文旨在以折中的思维模式,检视沈德潜诗学体系之建立,并藉以揭示清代诗学现象的特质。 With the development of traditional poetics, many aesthetic consciousnesses were springing up in Ching Dynasty. However, the mode of thinking in establishing poetics system obviously assumed an eclectic tendency. The reason for this was that the theorists had witnessed the controversies between different schools in Ming Dynasty. The mode of thinking of these theorists was based on the reflection on the shortcomings of the Ming poetics and tracing the causes of these shortcomings. After that, they inherited the good qualities of previous theorists and put them into their own aesthetics. The author of this paper intends to explore the establishment of She n Techien＇s （1673-1769） poetics system by eclectic thinking and further to reveal the characteristics of the poetics of the Ching Dynasty.

关 键 词： 沈德潜 格调派 清代诗学 折中思维

领　　域： [文学—中国文学]