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女性形象的描绘和塑造是我国传统文学作品中经久不衰的重要内容,它在我国浩瀚的文学海洋中占据着举重若轻的地位。但是在唐代以前的文学作品中,独立表现女性形象的文学作品并不多,文人在诗歌中更多地是继承“香草美人”的传统,或以美人来寄托对遥在云端的君王的思慕,或以美人来象征不可实现的理想等等。这种情况在唐代有了较大的变化,唐代的诸多文人如李白、白居易、杜牧、王昌龄、李商隐等都把写作的笔触放到了女性身上,女性题材的诗作开始遍地开花。到了宋代,随着词这一体裁的发展成熟,市井女子、风尘歌姬等下层女性的真实生活状态和心理活动,开始受到文人的关注。这一时期的文人如柳永、苏轼等人纷纷以词的形式表达对于女性的尊重和欣赏。本文选择唐代的王昌龄和宋代的柳永为研究对象,重点分析他们诗歌中的女性形象,分析二人所塑造的女性形象的异同点,探寻造成这种异同点的原因。
The portrayal and shaping of the female image is an enduring and important content in the traditional literary works of our country. It occupies an important position in the vast literary sea of our country. However, in literary works before the Tang Dynasty, there were not many literary works that independently represented feminine images. Literati inherited more from the tradition of “vanilla and beauty” in poetry or entrusted beauty to the kings in the clouds The beauty, or beauty to symbolize the unrealistic ideal and so on. This situation changed greatly in the Tang Dynasty. Many writers of the Tang Dynasty, such as Li Bai, Bai Juyi, Du Mu, Wang Changling and Li Shangyin, put the writing brushstrokes on women and the poems on female themes began to blossom everywhere. By the Song Dynasty, as the development of the genre of the word matured, the real life conditions and psychological activities of the lower-class women such as the well-being woman and pop singer began to receive the attention of the literati. Literators in this period, such as Liu Yong and Su Shi, expressed their respect and appreciation of women in the form of words. This paper selects Wang Changling in the Tang Dynasty and Liu Yong in the Song Dynasty as the research object, focusing on analyzing the female images in their poems and analyzing the similarities and differences of the female images shaped by the two, and exploring the reasons for the similarities and differences.