摘要
《九歌》文体性质问题历来争议较大,学者各执一端,讫无定论。根据祭祀仪式"仪式诗歌"在文体上多表现为"混合性艺术"的一般规律,对《楚辞·九歌》文体进行新的界定,认为《九歌》为"大文体",其中包孕"小文体"。而且将《九歌》认定为"混合性艺术",对深入探讨楚辞体的发展形成过程、屈原《离骚》《九章》等作与《九歌》在文体上的渊源关系等重大学术命题,具有重要意义。
Scholars stick to their own version of the style of Eleven Odes and no final conclusion has yet been reached on this matter. Based on the rule that poems used in sacrifice rituals are usually a ＂comprehensive art＂ when considered stylistically, the paper presents a new definition of the style of Eleven Odes that it is a ＂grand pattern＂ containing ＂petty patterns＂. Furthermore, defining Eleven Odes as a ＂comprehensive art＂ has profound significance for exploring such academic issues as the formation and development of Odes of Chu as well as QU Yuan＇s stylistic progress from Eleven Odes to Li Sao and Nine Elegies.
出处
《兰州大学学报（社会科学版）》
CSSCI
北大核心
2009年第1期39-43,共5页
Journal of Lanzhou University（Social Sciences）
基金
2008年度甘肃省社科规划项目"礼乐文明演进与春秋文体研究"
关键词
屈原
《九歌》
文体
混合性艺术
大文体
QU Yuan
Eleven Odes
style
comprehensive art
grand pattern
