本文以周密作为宋元之际文人与都城文学关系的切入点，聚焦作家、文本、城市之间的关系，通过对都城这一文学场的探究，还原周密活动与创作的真实状态，揭示都城文化在周密创作中发挥的作用，分析临安空间在周密作品中的文学呈现。周密生活于宋末元初的临安，居住时间长达40年，存有体量颇大的临安书写，兼及诗、词、笔记各体。其词作代表了宋末风雅词派的较高创作水平，反映了贾似道主导的宋季政治下赋闲文人寄情山水的生活情态，彰显了文人交游对词艺深化的推动作用。其笔记反映了宋末元初的历史状况、都城生活、遗民心态，有极高的文学、历史价值。

第一章从都城文化生态（家族、地域文化传统、交游）的角度还原周密临安书写语境的生成。临安的文化生态以士大夫的雅化审美生活为主，以文人雅士为中心的园林宅邸集会和对于杭州的文学集体想象，共同构成了周密的书写语境。周密从小生活于吴兴，周氏家族世代为官，父亲在读书、治史态度和文学交游上的言传身教，以及对于藏书、金石、字画等文物的广泛搜罗；祖父的名士风度为周密提供了良好的文化熏陶。壮年时期周密来到临安，得以追慕、模仿林逋等文人在西湖留下的关于梅花、泛舟的故事，主动地融入西湖的清雅文化传统。参加西湖吟社，与都城内的上流阶层文人进行交往，使得他在亡国之后仍然保有这种生活方式和文学风格。其中杨缵作为吟社发起者和长辈对周密的诗词创作有所指导，对其词学观念产生深刻影响，与张枢、施岳的唱和激发了他的创作热情。亡国后，在临安城内周密家中、西湖旧景处和临安城外遗民文人隐居之地集会仍在继续，其创作主题和思想情感集中表现了遗民的故国之思。

第二章讨论周密亡国前的诗词创作，呈现出一种以享乐为表征，以逃避为内在的矛盾特征。从亡国前诗词中隐晦的政治态度和亡国后笔记反思的内容能看出他对当时政治的核心人物和临安发生的重大政治事件怀有极深的关切。宋亡前的吟咏山水只不过是一种表象，是他以山水自适，将精神追求暂时放于词艺深化和研讨之上的结果。具体表现为：一、都城冶游生活中“雅”的表象。以周密与吟社词友张矩、陈允平的一次唱和活动为例，分析其表现主题“西湖十景”和表现内容“承平日久的西湖游赏”。这是十景文化现象下诗画合一的艺术表现形式。二、都城冶游生活中“愁”的实质。周密以“长安落叶”为核心意象，超越都城实际地理空间，构建出了一个内化的精神空间，表现主题为仕途失意、国家江河日下、身体上的衰老与病痛、朋友的四散飘零所带来的愁思。并以寒怆萧瑟、哀婉清丽为美学风格追求，带来词艺的拓宽和深化，达到工丽语言与深沉情感内蕴浑融一体的境界。

第三章讨论周密亡国后的笔记《武林旧事》，表现出一种遗民追忆故国和坚守情操的书写主题。将《武林旧事》与《东京梦华录》等“梦华体”文学从叙事视角和叙事重点的角度进行比较分析，发现周密在选取材料时，侧重记述皇家典礼，将典章制度放在了最重要的位置，而在记录都城市民生活时，追忆繁华的态度背后又隐隐流露出对奢靡生活方式的批判，这体现了他作为遗民士大夫的身份视角和对南宋王朝的正朔追忆。具体内容为：一、皇家典礼是都城礼俗生活中“礼”的体现。周密在亡国前后对度宗咸淳三年（1267）南郊大礼进行了两次书写。亡国前诗歌和亡国后笔记在文体形态、结构重心、情感指向上的差异性，正是宋元易代之际政治体制变迁、民族文化认同转向的产物。二、汴京风俗是都城礼俗生活中“俗”的体现。《武林旧事》的双城叙事模式，是南宋都城笔记的普遍特点。临安城的建筑、风俗、称呼种种背后都包含着南宋百姓对于汴京的怀念。当这些汴京遗风出现在亡国士人的笔记中时，更加增添了一种对于故国的双重怀想。临安和汴京的空间形体在文本中得到了再造，成为唤起遗民们集体历史记忆的重要手段。

余论部分探讨周密的临安书写对南宋临安文化形象的建构意义以及在后世叙事文学中的体现。

This paper takes Zhou Mi as the starting point of the research on the relationship between literati and capital city literature in the Song and Yuan Dynasties, focusing on the relationship among writers, texts, and cities. Through the exploration of the capital city arena, this paper restores the real state of Zhou Mi's activities and creation, reveals the role of capital city culture in Zhou Mi's creation, and analyzes the literary presentation of Lin'an space in Zhou Mi's works. Zhou Mi lived in Lin'an at the end of the Song Dynasty and the beginning of the Yuan Dynasty. He lived for 40 years and had a large amount of Lin'an writing, including poetry, phrases (“Ci” in Chinese), and notes. His Ci works represent the high level of creation of the elegant phrase genre (“Ya Ci Pai” in Chinese) in the late Song Dynasty, reflect the life mode of the idle literati under the politics of the Song Dynasty dominated by Jia Sidao, and highlight the promotion of literati's friendship to the deepening of Ci Art. His notes reflect the historical situation, capital life and adherents' mentality in the late Song and early Yuan Dynasties, and are of great literary and historical value.

The first chapter restores the formation of Lin'an writing context from the perspective of Capital Cultural Ecology (including family, regional cultural tradition and friendship). The cultural ecology of the capital often exerts a subtle influence on the literary style. Zhou Mi lived in Wuxing as a child. His family has been an official for generations and has collected more than ten thousand books, which has cultivated his character and broadened his cultural horizon. In his prime, he came to Lin'an, where he was able to follow and imitate the elegant cultural tradition left by Su Shi, Lin Bu and other literati in the West Lake. Taking part in the Xihu poetry club and communicating with the upper-class literati in the capital made him deeply influenced by elegant phrase genre, which was led by Yang Zan, not only in his lifestyle but also his literature creation. It made him still keep this life and literary style after his subjugation. The pursuit of "pure and elegant" style caused by scholar bureaucrats' refined aesthetics runs deeply through Zhou Mi's literary writing before and after the fall of the country.

The second chapter discusses Zhou Mi's poetry creation before his subjugation, which shows a contradictory feature characterized by hedonism exteriorly and escape interiorly. From the obscure political attitude in the poems before the subjugation and the content of the notes after the subjugation, we can see that he was deeply concerned about the political core figures and the major political events in Lin'an at that time. Before the subjugation of the Song Dynasty, the chanting of mountains and rivers was just a kind of appearance, which was the result of his self-adaptation of mountains and rivers, and his spiritual pursuit was temporarily put on the deepening and research of Ci Art. The specific performance is: the appearance of "elegance" in the life of the capital. Zhou Mi, Zhang Ju and Chen Yunping, friends of the West Lake chanting society, had a singing activity with the theme of ten sceneries of the West Lake, which was mainly about a long-term tour of the West Lake. This is the artistic expression of the combination of poetry and painting under the phenomenon of ten sceneries culture. The essence of "worry" in the life of the capital city. Taking "Chang'an fallen leaves" as the core image, Zhou Mi transcends the actual geographical space of the capital city and constructs an internalized spiritual space, which expresses the melancholy brought about by the theme of official frustration, the decline of the country, the aging and illness of the body, and the scattering of friends. With the pursuit of aesthetic style of cold pathetique and bleak, sad and beautiful, it brings the broadening and deepening of Ci Art, and achieves the artistic realm of integration.

The third chapter discusses Zhou Mi's notes "old stories of Wulin" after the fall of the country, which shows a writing theme of the adherents recalling their homeland and sticking to their sentiment. This paper makes a comparative analysis of "Menghua style" literature, such as old stories in Wulin and Menghua records in Tokyo, from narrative perspective and focus. It is found that when Zhou Mi selects materials, he focuses on recording the royal ceremony, and places the rules and regulations in the most important position. When he records the life of the people in the capital, his attitude of recalling prosperity reveals his criticism of extravagant lifestyle, this reflects his perspective of identity as an adherent scholar bureaucrat and his recollection of Zhengshuo in the Southern Song Dynasty. The specific contents are as follows: the royal ceremony is the embodiment of "ceremony" in the capital's etiquette and custom life. Zhou Mi had two writings about the southern outskirts ritual in the third year of Xianchun（1267）at the end of the Song dynasty. These two writings are differentiated in forms of text, point of structure, and emotional approach. These differences are products of the institutional replacement from Song to Yuan dynasty and the change of national cultural identity. Bianjing custom is the embodiment of "custom" in the etiquette and custom life of the capital city. The narrative mode of two cities in old stories of Wulin is a common feature of the capital notes of the Southern Song Dynasty. The architecture, customs and address of Lin'an City all contain the memory of Bianjing by the people of Southern Song Dynasty. When these relics of Bianjing appeared in the notes of the conquered scholars, it added a kind of double nostalgia for the country. The spatial forms of Lin'an and Bianjing have been reconstructed in the text, which has become an important means to arouse the collective historical memory of the adherents.

The conclusion part discusses the significance that Lin’an writing has brought to the construction of Lin’an cultural image in the Southern Song Dynasty and its embodiment in later narrative literature.