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《九歌》的“离居”取向,表层指《九歌》诸神由对居所的不满而产生的远游之渴望与行动,深层上则是由爱情理想、生命意识、求知情结和自由诉求交融而成的产物。“离居”取向可分为三种模式,屈原的主体情感构成了“离居”取向的深层文化心理内涵,而“离居”取向所反映的社会语境,不仅体现了时人的宗教观念和人生意识、反映了南北文化深刻交融冲突的社会现实,而且还展示出屈原之“离居”终以“回归”为结局的文化背景。
“Nine Songs” “dwelling ” orientation, the surface refers to the “Nine Songs” gods from the dissatisfaction of their homes arising from the longing cravings and actions, deep is by the ideal of love, life awareness, knowledge and complex The product of free appeal. The orientation of “dwelling ” can be divided into three modes. The main sentiment of Qu Yuan constitutes the deep cultural psychological connotation of “dwelling ” orientation, and the social context reflected by “dwelling ” orientation not only reflects At the same time, people’s religious concepts and life consciousness reflected the social reality of the deep integration and conflict of North and South cultures, and also showed the cultural background that Qu Yuan’s “departure ” finally came “return ”.