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南唐是唐宋变革过程的重要枢纽，也是中古转为近古的一个阶段。南唐政权文教之鼎盛与生活之放纵给我们留下了深刻印象，本文试图将南唐政权本身作为一个审美对象，探讨其基于政治而产生的江南意识，以及此种江南意识焕发出的美学之内涵。
本文首先揭示出，基于闭锁的心态，南唐人认为自己继承了大唐的文统，事实上却是将其意义从文教转为文艺，希望借助文艺巩固自己的政治地位，于是产生自我认同与外界认识的歧异。李昪将自己追认为唐代皇室后裔，使前期南唐充满中原政治认同。直到南唐战败于后周，失去政治希望后，被迫用文艺保持体面。于是江南意识消化了中原意识，变为自觉。它既带有政治底蕴，又将政治意识审美化，使南唐成为一个专注于美和艺术的国度。
其次，本文以南唐的绘画、珍玩、文论为例，指出南唐既保留功利性质的审美，又不由自主地喜好无功利的纯粹审美，已经不动声色地转向审美自由的文艺观，产生出文艺境界。它首先来自多层次情景产生的空间感，而作家主体精神又超出并驱动客体构筑了“江南”这个宏大的文化空间。
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借助以上研究结果，本文指出南唐艺文和它们的作者都处于一种“惑溺”的思维内，亦即拥有压力导致的普遍神经症人格。具体而言，南唐的美学内涵可归结为“狂喜”和基于物感体会到的“哀伤”。它们不是平行，而是交融为“狂喜的物哀”，形成自我背反的美学。一方面，家国之哀移情到外物，诗人又通过体物深化了哀愁。另一方面，这种艺术生产的快感使审美意识遮蔽了政治意识，形成南唐的江南意识，并且
通过南唐的文艺被近世江南文化传承下去。这种“神经症”恰恰成为南唐美学内涵发展的契机。而南唐的美学内涵在后世的接受、演变过程中，又逐渐脱离其神经症的阴影，沉淀而为江南文化的重要成分。
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关键词：南唐，政治，美学，江南意识
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The Southern Tang Dynasty was an important hub of the Tang and Song reforms, and also a stage in the transition from the Middle Ages to the modern times. This article attempts to take the Nantang regime itlf as an aesthetic object, to explore its Jiangnan consciousness bad on politics, and the aesthetic connotation of this Jiangnan consciousness.
This article first reveals that the people of Southern Tang believed that they inherited the cultural heritage of Datang, but in fact they changed their meaning from culture and education to literature and art, thereby consolidating their political status, and thus produced differences between lf-identification and external knowledge. Li Pang regarded himlf as a descendant of the royal family of the Tang Dynasty, which filled the early Southern Tang Dynasty with political identity in the Central Plains. It was not until the defeat of the Southern Tang Dynasty in the latter week, and after losing political hope, was forced to u literature and art to maintain decent. So Jiangnan consciousness di
gested the Central Plains consciousness and became conscious. It not only has political details, but also aestheticizes political consciousness, making Nan Tang a country focud on beauty and art.
Secondly, taking the painting, treasure play and literary theory of the Southern Tang as examples, this article points out that the Southern Tang not only retains the utilitarian nature of the aesthetics, but also involuntarily likes the pure aesthetics without utilitarianism. The realm of literature and art. It first comes from the n of space generated by multi-level scenarios, and the writer's subjective spirit exceeds and drives the object to construct the grand cultural space "Jiangnan".
With the help of the above rearch results, this article points out that Southern Tang Yiwen and their authors are in a "drowning" thinking, that is, they have a general neurotic personality caud by stress. Specifically, the aesthetic connotation of the Southern Tang Dynasty can be attributed to "ecstasy" and "sorrow" bad on physical nsations. They are not parallel, but blend into "ecstatic mourning", forming a lf-rebellious aesthetic. On the one hand, the sorrow of the family and country moved to foreign objects, and the poet deepened the sorrow through the physical objects. On the other hand, this thrill of artistic production made the aesthetic consciousness overshadow the political consciousness, forming the Southern Tang Dynasty's Jiangnan consciousness, and pasd down through the modern Jiangnan
culture through the Southern Tang's literature and art. This "neuropathy" just became the opportunity for the development of the aesthetic connotation of the Southern Tang Dynasty. In the process of acceptance and evolution of later generations, the aesthetic connotation of the Southern Tang Dynasty has gradually parated from the shadow of its neurosis and precipitated as an important component of Jiangnan culture.
Key words: Southern Tang Dynasty, politics, aesthetics, Jiangnan consciousnessrapidly
目 录
摘 要.............................................................. I I 目 录.. (1)
导 言 (1)3d效果图培训
一、论文选题的理由及意义 (1)
二、相关研究综述 (2)
三、研究方法与缺陷 (5)
第一章 “南唐的文教”与“文教的南唐” (6)
第一节 儒书衣服：南唐文教的繁荣形象 (6)
第二节 麒麟楦：南唐文教问题再探 (7)
第三节 “元和之风”解——南唐的元和情结 (10)
第二章 “唐之子孙”：论南唐人的自我定位 (16)
第一节 法统.正统.文统 (16)
第二节 攀髯：徐知诰复姓及其影响 (18)
第三节 文在兹：南唐的文统意识 (21)
第三章 南唐的江南意识 (25)
第一节 江南意识的定义与形成 (25)
第二节 梦入江南烟水：杨吴、早期南唐与江南 (27)
第三节 龙战于野：晚期南唐的偏安心态 (31)
第四节 吹皱一池春水：南唐江南意识之成熟及其特性 (37)
第四章 江南大义：南唐文艺性格研究 (40)
八卦天后
第一节 从“徐黄体异”看南唐文艺的双重性格 (41)
第二节 物障：南唐文艺与物 (43)
第三节 情而美：“江南大义”再发现 (50)
第五章 南唐文艺的境界及其成因 (59)
第一节 南唐文艺的境界 (59)
第二节 堂庑：南唐文艺中的空间 (63)
美国留学专业解析第三节 “江南关键词”：作为意象的江南风物 (68)
日语学习资料下载第四节 弦外音：作为文学抒情方式的音乐 (72)
第六章 狂喜的物哀：南唐作为审美对象 (77)
第一节 惑溺：南唐时代的神经症人格 (77)
nudes girl第二节 情味切：南唐的审美狂喜 (82)
第三节 珠沉玉碎：南唐的“物哀”美学 (87)
结语：不可能性：南唐的梦、美和江南遗产 (93)
参考文献 (97)
后 记 (105)
在读期间相关成果发表情况 (107)
