| 蔡琰作品研究的世纪回顾 |
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| 引用本文： | 徐正英.蔡琰作品研究的世纪回顾[J].西北师大学报,2001,38(2):6-11. |
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| 作者姓名： | 徐正英 |
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| 作者单位： | 西北师范大学文学院!甘肃兰州730070 |
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| 摘 要： | 署名蔡琰的作品共3首,20世纪对这3首作品的研究大体分为逐步展开、热门、停顿、全面深入四个阶段.前两个阶段主要围绕3首作品的真伪展开讨论,最后一个阶段逐渐转向对作品美学价值的深入开掘.现趋于判定五言<悲愤诗>为真作,骚体<悲愤诗>和<胡笳十八拍>为伪作;对作品美学成就的评判,主要集中在五言一首.
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| 关 键 词： | 20世纪 蔡琰作品 真伪之争 美学评判 |
| 文章编号： | 1001-9162(2001)02-0006-06 |
| 修稿时间： | 2000年9月2日 |
A Review of a Hundred Years' Study of Cai Yan's Writings |
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| XU Zheng-ying.A Review of a Hundred Years' Study of Cai Yan's Writings[J].Journal of the Northwest Normal University(Social Sciences),2001,38(2):6-11. |
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| Authors: | XU Zheng-ying |
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| Abstract: | Research in the 20th century on three poems signed by Cai Yan has undergone four different stages: the first, a progressively unfolding period; the second, a heated discussion period; then a fourteen-year standstill period; and the last one, a massive, thorough analysis period. Reserach of the first two stages chiefly centred around the argument about whether those three poems had actually been composed by Cai Yan; and that of the last stage was gradually switched to serious exploration of their aesthetic values. At present, researchers tend to agree on the decision to take "A Pan Written in Deep Grief" (a type of ancient poetry called Wu Yan Shi, with five characters to a line) as genuine, but the Sao Ti Shi (a special type of ancient poerty) with the same title and the long poem "Hu-jia Shi Ba Pai" (Hu-jia Eighteen Stanzas) as not authentic. Research at the moment mainly focuses on the evaluation of the aesthetic achievements of the first poem. |
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| Keywords: | 20th century Cai Yan's writings dispute about authenticity of literary works aesthetic evaluation |
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