文档介绍：欧阳炯研究中国古代文学专业研究生:杨兴涓指导教Oili:房锐摘要:在花间词人群中,欧阳炯是一位诗、词、文兼擅的大家,现存诗七首、词四十七首、文两篇。他身上存在着不少矛盾,其官高资厚,性情坦率放诞,为人却能以俭朴自守,历代史家对其评价也是褒贬不一。其《花l、日J集序》是花|’日J词人的创作纲领,也是中国文学史上的第一篇、词论,序中提出了“清艳”、“诗词分体”等词学观念,表现出“文质并重”、“崇雅黜俗”的理论倾向,具有朦胧的词史观念和流派意识,对后世词论有较大的影响。欧阳炯诗内容充实, 笔力苍劲,特别是长诗《贯休应梦罗汉画歌》和《题景焕画应天寺擘天王歌》, 堪称五代诗中的佳作;其文属对工巧,词语精美,叙议之中时见形象性描绘, 辞藻虽稍显华丽,但文不掩质;其词更是以多样的题材内容、独特的意境创造在一定程度上突破了“花问体”的格局,拓展了词的艺术境界,深化了词的抒情功能,推动了词的文人化进程,既有对自己词学观的践行,也有难能可贵的超越。本文分三章对欧阳炯的生平、词学思想及文学作品进行探讨。第一章结合史料对欧阳炯的生平行踪加以系年,对学界某些错误的认识进行辨析,考证了其作品存佚情况,提出了欧阳炯生平研究中的几个疑点。第二章结合《花间集序》的写作背景和《花|’日J集》的编纂原则,联系二十世纪以来学界对《花间集序》的不同理解,探讨了欧阳炯的词学思想,分析了其词学思想对宋人“词为艳科”观念的影响。第三章将欧阳炯词分为“花间体”和“花间别调”进行述评,分析了欧阳炯词在意境创造、心理描写、人物形象刻画以及词调创新等方面的特征,并简要分析了其诗、文。关键词:欧阳炯生平花问集序词学思想作品述评 Abstract Amidst the Huaj ian Ci—Poetry School,Ouyang Jiong is a master in poem,ci—poetry and works now available includes seven poems,forty—seven ci—poems and two pieces of jiong h as a paradoxical personal ity:he iS known as a straight and uninhibi ted senior official with a deep pocket while he is a man of simplici ty and integrity,which invites a mixed reception by all historians through the Preface to the Collection ofHuajian Ci—Poetry School has been considered guidance to the Huanj Jan Ci poets as wel 1 as the first ci—poetry theory in the history of Chinese literature. In the Preface,the conception of“gorgeous but refreshing style” and“divorce of poem and ci—poem”. a tendency to pa Y equal attention to“body and soul”,and to advocate“vulgarity never,el egance forever,”i n S,therefore,has produced significant influence on later ci——poetry theory with a vague conscio usness to the history and genres of the Ci— informative ness and skillfulness characterizes hiS Ouyang Jiong’S poems,espec ially in his two cantos,Portraits of Monk Guanxiu’S Dreaming Arhat S,A Poem on jinghuan ‘S Drawings of Heavenly Kings in Yingtian Tem ple,which have been considered fine masterpieces during the Five Dy prose iS delic