《江南歌》中的拟古诗学与风土书写
Anthropomorphic Poetics and Vernacular Writing in Jiangnan Songs
王培刚1
作者信息
摘要
祗园南海所作《江南歌》十二首为日本近世竹枝词之鼻祖.十七世纪末至十八世纪初,拟古诗风席卷江户诗坛,以拟古为作诗技法的拟古诗学成为主流.在这一时代背景下,祗园南海模拟竹枝词体式而作《江南歌》,富于民歌式的俚俗色彩和乡土趣味,并通过对中国诗歌话语、意象的组合拼贴,描绘了日本和歌山城周边的地方风土景观,形成了拟古诗学与风土书写的交响.《江南歌》所呈现出的"雅俗融合"这一特征,又与南海诗论中的"雅俗之辨"密切相关.考察竹枝词在江户汉诗中的接受与变异,有助于我们从中日比较文学角度,重新审视日本汉诗的审美特征和文化内涵.
Abstract
Gion Nankai's twelve Jiangnan Songs are the originator of the modern Japanese Zhuzhi Poems.In the late 17th and early 18th centuries,anachronistic poetic styles swept through the Edo poetry world,and anachronistic poetics,which utilized anachronism as a poetic technique,became the main stream of the poetry world.In this background,Gion Nankai wrote Jiangnan Songs in the style of Zhuzhi poems,rich in folk song-like slang colors and vernacular interest,depicting the local landscape around the city of Wakayama by combining and collaging Chinese poetic discourse and imagery,forming a symphony between anthropomorphic poetics and vernacular writing.The"fusion of elegance and vulgarity"that characterizes the Jiangnan Songs is closely related to the"distinction between elegance and vulgarity"in Nankai's poetic theory.Examining the acceptance and mutation of the Zhuzhi Poems in Edo Chinese poetry helps us to re-examine the aesthetic characteristics and cultural connotations of Japanese Chinese poetry from the perspective of comparative literature between China and Japan.
关键词
竹枝词/祗园南海/江南歌/拟古/雅俗Key words
Zhuzhi Poems/Gion Nankai/Jiangnan Songs/anachronism/elegance and vulgarity引用本文复制引用
基金项目
2019年度国家社会科学基金重大项目(19ZDA295)
出版年
2024
NETL
NSTL
万方数据