| 论张翥的咏物词 |
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| 引用本文： | 陈海霞.论张翥的咏物词[J].楚雄师范学院学报,2008,23(2):57-61. |
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| 作者姓名： | 陈海霞 |
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| 作者单位： | 中国社会科学院研究生院,北京,100102 |
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| 摘 要： | <乐府补题>的出现,标志着咏物词的发展已经进入较为完备的阶段.在此基础上,张翥以贯通南北的词学视野,转益多师式的创作姿态,主动回归姜夔的咏物传统,从而成为元代咏物词创作的集大成者.
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| 关 键 词： | 张翥 咏物词 审美情志 创作姿态 审美理想 咏物词 Zhang Discussion 集大成者 词创作 元代 姜夔 回归 创作姿态 转益多师 词学 发展 标志 乐府补题 |
| 文章编号： | 1671-7406（2008）02-0057-05 |
| 收稿时间： | 2007-12-28 |
| 修稿时间： | 2007年12月28 |
Discussion on Zhang Zhu's Lyrics Intoned Objects |
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| CHEN Hai-xia.Discussion on Zhang Zhu''''s Lyrics Intoned Objects[J].journal of chuxiong normal university,2008,23(2):57-61. |
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| Authors: | CHEN Hai-xia |
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| Institution: | CHEN Hai-xia(Graduate School of Chinese Academy of Social Sciences,Beijing 100102,China) |
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| Abstract: | It indicated the lyrics intoned objects developed to a favorable period, along with Yue FU Bu Ti published. On this condition, Zhang Zhu extracted the soul of lyrics intoned objects and became a master of poetry in the late Yuan Dynasty. |
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| Keywords: | Zhang Zhu lyrics intoned objects aesthetic emotion aesthetic ideality |
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