从游景到游境——李白出游诗歌旅游审美境界的研究

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1、目录目录…………………………………………………………………1中文摘要··········································································2关键词··········································································2英文摘要··········································································3正文····························

2、··············································4前言··········································································4第一章、李白出游诗歌概述……………………………………………6第一节、李白诗歌概述…………………………………………………6第二节、李白出游分析…………………………………………………8第三节、李白的出游诗歌………………………………………………11第四节、李白出游诗歌的特征…………………………………………12第二章、李白出游诗歌的旅游审美境界………

3、………………………13第一节、“悦耳悦目”的体游之境……………………………………16第二节、“悦心悦意”的神游之境……………………………………22第三节、“悦志悦神”的醉游之境……………………………………27小结……………………………………………………………………33第三章、李白出游诗歌的影响和意义…………………………………36结语………………………………………………………………43致谢·········································································44主要参考文献····················

4、···············································45附录·········································································47封底：学位论文原创性声明和关于学位论文使用授权的声明1从游景到游境——李白出游诗歌的旅游审美境界研究详细摘要李白对大自然有着强烈的感受力，他善于把自己的个性融化到自然景物中去，使他笔下的山水丘壑也无不具有理想化的色彩。他的出游诗歌与其说是对自然形貌的逼真描绘，不如说是按诗人个性被改造和理想化了的图景。他只求把握整体的气势或氛围，凭倏来飙起

5、的感兴泼墨写意，而略去具体的细节，甚至连观照景物的视觉转移的顺序也往往毫不在意。同时李白的出游诗又是无往而不抒情的，他善于把山水物色和特定的情绪渗透、交融在一起，在“景”和“情”之间有着“同构互感”的微妙的呼应关系，体现了他的旅游审美境界。本文运用马克思主义实践美学的理论把李白出游诗歌所体现的旅游审美境界初步分为三个层次，即体游之境、神游之境和的醉游之境。它们的特点就是李泽厚先生总结的“悦耳悦目”、“悦心悦意”和“悦志悦神”。同时也将旅游美学的三个环节，即发现美、创造美、欣赏美连接起来，扩大了旅游美学的研究范围，从而完善了旅游美学的理论基础。关键词:李白出游诗歌旅游审美境界2Fromt

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