民族融合与北魏女性作家的文学成就
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摘要
中国古代的女性文学在唐代之后获得较快的发展,从而也引起学人的关注。唐代之前的女性文学数量少,同时也缺乏名家,很容易为世人所遗忘。北魏文学向来不受学界重视,其女性作家囿于资料所限,更是无人问津。在拓跋鲜卑族建立的北魏政权中,后宫嫔妃、拓跋鲜卑族、自南如北等三类女性作家的文学创作,融合了汉族与鲜卑族的文化因子,取得了较高的文学成就。胡太后《杨白花》因情景交融、抒情浓郁,摘得女性文学之桂冠。
In ancient China,female literature developed very fast after Tang dynasty and attracted the scholars' attentions. Before Tang dynasty the number of female literary works was low. Besides, there was lack of famous female writers as well, easily forgotten by the world. The literature in the Northern Wei has never been treasured in the academe. No attention was paid to the female writers due to the limitation of related literature. In the Northern Wei regime established by Xianbei Tuoba minority, the literary creations of three types of female writers—the concubines in the imperial harem, Xianbei Tuoba nationality and female writers from north to south—have integrated the cultural elements of Han nationality and Xianbei Tuoba minority and achieved high literary achievements. Hu Taihou has won the laureate for female writers because of her work Yang Baihua in which the scenery was depicted and the emotions was expressed in perfect harmony.
In ancient China,female literature developed very fast after Tang dynasty and attracted the scholars' attentions. Before Tang dynasty the number of female literary works was low. Besides, there was lack of famous female writers as well, easily forgotten by the world. The literature in the Northern Wei has never been treasured in the academe. No attention was paid to the female writers due to the limitation of related literature. In the Northern Wei regime established by Xianbei Tuoba minority, the literary creations of three types of female writers—the concubines in the imperial harem, Xianbei Tuoba nationality and female writers from north to south—have integrated the cultural elements of Han nationality and Xianbei Tuoba minority and achieved high literary achievements. Hu Taihou has won the laureate for female writers because of her work Yang Baihua in which the scenery was depicted and the emotions was expressed in perfect harmony.
引文
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[3]袁志成.从闺内吟咏到闺外结社——中国古代女性文学的突围之路[J].华南师范大学学报,2012(3).
[4]罗新,叶炜.新出土魏晋南北朝墓志疏证[M].北京:中华书局,2005.
[5]魏收.魏书[M].北京:中华书局,1974.
[6]朱亮.洛阳出土北魏墓志选编[M].北京:科学出版社,2001.
[7]赵超.汉魏南北朝墓志汇编[M].天津:天津古籍出版社,1992.
[8]房玄龄.晋书[M].北京:中华书局,1974.
[9]严可均.全上古三代秦汉三国六朝文[M].北京:中华书局,1958.
[10]逯钦立.先秦汉魏晋南北朝诗[M].北京:中华书局,1983.
[11]杨勇.洛阳伽蓝记校笺[M].北京:中华书局,2006.
[12]萧子显.梁书[M].北京:中华书局,1973.
[13]李延寿.南史[M].北京:中华书局,1975.
[14]曹道衡,沈玉成.中古文学史料丛考[M].北京:中华书局,2003.
[15]萧涤非.汉魏六朝乐府文学史[M].北京:人民文学出版社,1984.
[16]郭丽.《杨白花》本事浅说[J].文史杂志,2015(4).
[17]王运熙.汉魏六朝乐府诗评注[M].济南:齐鲁书社,2000.
[18]孙少华.《杨白花歌辞》本事及其文学与文化意蕴[J].中国诗歌研究,2011(00).
[19]李开元,管芙蓉.北魏文学简史[M].太原:山西人民出版社,1993.
[20]高人雄.北朝民族文学叙论[M].北京:中华书局,2011.
[21]许顗.彦周诗话[C]//丛书集成初编.上海:商务印书馆,1935.
[22]张玉穀.古诗赏析[M].上海:上海古籍出版社,2000.
[23]王夫子.船山古诗评选[M].北京:中华书局,1980.
[24]沈德潜.古诗源[M].北京:中华书局,1963.
[25]钟惺.名嫒诗归[C]//四库全书存目丛书:第339册.济南:齐鲁书社,1997.