齊益壽Chi, I-Shou臺灣大學:中國文學研究所方韻慈Fang, Yun-CihYun-CihFang2010-05-042018-05-292010-05-042018-05-292009U0001-1408200916313900http://ntur.lib.ntu.edu.tw//handle/246246/178572本文旨在考察謝靈運山水詩的寫作階段，並就各階段詩歌風格進行闡釋。近年來承前輩學者開拓之功，謝靈運詩歌相關史料趨於詳備，跨足文史而研究者亦不在少數。然當前學界探討謝靈運詩歌，多立論於籠統的整體表現，鮮有劃分時期而深入探討者。有鑑於文學創作與人生經驗之互涉，本文結合歷史背景與地理環境的材料，復注意作品內在的演化，觀察謝靈運山水詩在不同階段的創作情境，以歸納各階段的寫作風格。文以《謝靈運山水詩分期研究》為題，透過時期的劃分與闡釋，顯示謝靈運山水詩的階段性演變。在進入各期討論之前，擬先進行詩歌繫年的討論。本文承繼顧紹柏先生之繫年研究，並針對部分繫年結果進行檢討。進入山水詩分期的討論之後，則藉由兩種層面探討詩作：一為著重詩歌寫作的外在因素，包括歷史現實，山水景域與文學寫作的承變；二為詩歌寫作的內在演變，著重探討詩中寫景、抒情、說理間的相即相離。綜論詩歌內外，以歸結各期寫作風格。分期討論的部分，全文歸納四個寫作階段：其一，永初三年至景平元年（422-423），出任永嘉太守時期，其特色在於繁富板滯。其二，景平元年至元嘉三年(423-426)，第一次隱居於故鄉始寧時期，其特色為天趣流動。其三，元嘉五年至元嘉七年(428-430)，第二次隱居時期，其特色為孤高幽深。其四，元嘉八年至元嘉十年(431-433)，出守臨川與流放廣州時期，其特色為奧博尚奇。This thesis will aim to explore the writing gradations of Hsieh Ling-yun’s landscapes poetry. Recently, the researches about Hsieh Ling-yun are accustomed to concentrate on the whole aesthetic expression of Hsieh’s landscape poetry. Seldom do scholars make efforts to explore the writing gradations of his landscape poetry. To make compensation for this, this thesis will aim to specify gradations of Hsieh’s landscape poetry. To rebuild outside writing environments of poetry, those historical and geographical materials of the Six Dynasty would be collected. On the other hand, a poetry would be separated to three parts, including expression of affection, ascriptions of landscapes and discussion of Toaism, to explore the differences between every writing gradations.he topic of this thesis is ”Writing Gradations of Hsieh Ling-yun’s Landscapes Poetry.” Before the discussion of writing gradations, the time poetry written down should be conformed first. This conformation is mostly according to the conclusion of Gu Shao-Bo, and modestly emendated in the first chapter. Regarding to discussion of writing gradations of Hsieh Ling-yun’s landscapes poetry, there will be two aspects. Firstly, the background of poetry, including historical facts, actual landscape and the trend of literature history, should be rebuilt. Secondly, the inner structure of poetry, such as the combination or separation of expression of affection, ascriptions of landscapes and discussion of Toaism, will be observed. here will be four gradations observed in this thesis. First, from 422 to 423, the period of Hsieh Ling-yun being an officer of Yong-Jia, the feature is untraceable ornate diction. Second, , from 423 to 426, the period of first resignation, the feature is fluid interest of Nature. Third, from 428 to 430, the period of second resignation, the feature is abstruse loneness. Forth, , from431 to 433, the period of Hsieh Ling-yun being an officer of Lin-Chuan and be exiled to Guang-Zhuo, the feature is unusual interests and unconstraint style.目 錄文提要...... i文提要. ii一章 緒論 1一節 研究動機 1二節 研究成果回顧 4三節 研究範圍 13四節 研究方法與進行步驟 17二章 謝靈運詩歌繫年考辨 20一節 任劉毅及劉裕幕府時期 20二節 赴任永嘉太守與任內時期 25三節 初次隱居至返京任秘書監期間 31四節 二次隱居至流放廣州期間 34五節 不加編年詩作 36三章 永嘉時期山水詩：繁富板滯 42一節 從「行旅」到「獨遊」 42. 山水詩源於「行旅」與「遊覽」之說 43. 感物為主，觀物為輔—赴往永嘉途中所作 46.「觀物」與「感物」並行 —任永嘉太守所作 50二節 永嘉空間形塑與心境轉折 54.「空間」的定義 55. 異域之挑戰 56. 仙境之想像 59. 治地之擘畫 61三節 論本期詩歌寫景技法與景情關係 64. 早期詩歌景情關係 64. 本期寫景技法之鍛鍊 66. 景情之斷裂與交融 70四章 第一次隱居時期：天趣流動 75一節 會稽之文化地域與山水體現 75. 會稽地域文化之形成 75. 園林山水 79. 媚道山水 84二節 論本期詩歌景情理之協調 89. 本期詩歌寫景技法 89. 理趣浹恰與孤獨伏流 93. 天趣流動 96五章 第二次隱居始寧時期：孤高幽深 99一節 歷史時空與隱居圖像之遷變 99. 二次隱居前夕之謝氏地位消長 100. 仕隱兼美的理想裂痕 103. 登高詩變體—孤懸幽峭的山居想像 106. 幽人所待 112二節 論本期詩歌景情之交融 117. 空間的織組 117. 聯章體的運用 118. 理境的護持 120六章 出守臨川與流放廣州時期：奧博尚奇 124一節 紀實寫奇與懷古書憤 124. 吞納眾奇的南方山水 125. 獨往思古之遊 134二節 論本期詩歌景情之逸放 139. 質而多情 139. 寫景逸蕩 141七章 結論 145考書目.. 149application/pdf1244719 bytesapplication/pdfen-US謝靈運山水詩繁複板滯天趣流動孤高幽深奧博尚奇Hsieh Ling-yunlandscape poetryUntraceable Ornate Dictionfluid interest of NatureAbstruse LonenessUnusual Interest and Unconstraint Style.thesishttp://ntur.lib.ntu.edu.tw/bitstream/246246/178572/1/ntu-98-R95121007-1.pdf