浅谈陈子昂的诗歌革新主张与创作实践VIP专享

浅谈子昂的诗歌革新主与创作实践[中 文 摘 要]标举风骨,提倡的是一种现实的积极的创作精神,强化诗歌的感教力;提倡兴寄,强调的是诗歌的美刺讽喻功能,要求体现创作者的情感意志和价值追求,反映其所处时代的人文精神。子昂在隋末唐初绮错婉媚的诗风中提倡革新,标举风骨,力倡兴寄,以复归诗歌风雅传统为己任,是反对齐梁文风的理论提倡者和创作实践者,为指引唐诗走上健康昂扬之路发挥了巨大的作用。[关键词]子昂;诗歌革新;标举风骨;提倡兴寄The ChenZiAng poetic reform advocates discuss with creation practice[English Abstract]Touted the strength of character, promote the creation of a real positive spirit, and strengthen a sense of poetry teaching force; advocacy Xing, emphasized the beauty of poetry barbed allegory features, requirements reflect the artist's feelings and values will reflect The era in which the human spirit. Early in the Sui-chi Chen Zi Wan Mei's poetic style in the wrong to promote innovation, touted the strength of character, pushed Xing, to revert to the traditional poetic elegance mission is to advocate against the theory of Qiliang wind and creative practitioners, as a guide to go Tang healthy high-spirited way to play a huge role.目录前言……………………………………………………1一、诗歌革新的主…………………………………1（一）、标举风骨,强化诗歌的感教作用…………………2（二）、提倡兴寄,强化诗歌的人文精神…………………2二、创作实践……………………………………………….3（一）、感怀身世，书法报国理想的感遇诗…………….4（二）、慨叹理想破灭的感伤诗………………………………4三、革新理论的局限…………………………………………5四、中国历代文人对子昂的评价…………………………6主要参考文献…………………………………………………7致……………………………………………………………8浅谈子昂的诗歌革新主与创作实践前言唐朝是我国诗歌创作的顶峰时期，但在初唐阶段，整个诗坛却秉承齐梁柔媚诗风，弥漫着靡靡之音。直到子昂步入诗坛，开风气之先，才从理论和创作上彻底摒弃了齐梁余风，走上了蓬勃进展的道路...