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Abstract
Taoist Aesthetics, Chinese Poetry and Modern
American Poetry Abstract: The Taoism ways to view and
comprehend things, and its expressive strategies provide an operating
manner that could make a release from the violence and suppress of
language. Besides, it urges us to go further into the status of abandoning
the individual name and institution by means of questioning the common
sense so as to be correspond to Tao and to present the vivid nature
as it is. These characteristics were revealed obviously in classical
Chinese poetry, and they formed a distinguished aesthetic effect.
The pursuit of the “thing itself” in modern American poetry is exactly
using the Taoist aesthetics as its important media. A Theoretical Reflection on the Production
of Classical Chinese Poetry Abstract: This article tries to use
the art production theory of the Marxism as the guiding ideology and
methodology, hoping to provide a set of detailed thinking methods
for the research of classical Chinese poetry, so that a new field
of studying of classical Chinese poetry could be explored. The article
is divided into five parts: 1. The spiritual requirements of human
beings and the origin of art; 2. The basic thinking of the art production
theory of the Marxism; 3. The origin of the classical Chinese poetry
from the aspect of art production; 4. The basic forms of the production
of the classical Chinese poetry; 5. The ideology and methodology of
poetry study in general. Research on the Han Nationalization Process
in North Wei Dynasty and the Song-poem Artistry Abstract:The development of song-poem
artistry in North Wei Dynasty nearly kept pace with the process of
the dynasty’s Han Nationalization, while dramatically affected by
the minority Hu music. Emperor Xiao-wen’ Han Nationalization policy
not only reinforced the country’s power, but also speeded up the growth
of the production and consumption of song-poem artistry. During a
period of thirty to forty years after moving its capital to Luoyang,
North Wei Dynasty witnessed the flourish of the song-poem arts, and
thus won a glorious page in the history of Chinese song-poem artistry. On Relation between Yuan Zhen and Bai Ju-yi’s
New Music Bureau Poetry (Yue fu) Movement and the circulation of song-poems Abstract:This article re-examines New
Music Bureau Poetry Movement advocated by Yuan Zhen and Bai Ju-yi
in the sight of the circulation of song-poems, trying to reveal their
motivation. It argues that Yuan and Bai’s Yue fu composition were
inspired by a reflection on the court music performed early from High
Tang. The poets intent to create a new style to substitute both the
great odes and hymns of the court and the flirting Yue fu songs, as
well as to achieve its effect on politics. Since the New Yue fu is
in fact the composition of new song-poems, the Movement thus settled
the paradox between repetition and transformation of the composition
of Yue fu poetry. Several topics about The Classic of Poetry Abstract:This article sorts out several
topics about the research work of The Classic of Poetry. On the first
topic of “lost poems” and the claim of “the deletion of the poems
by Confucius”, the article argues that The Classic of Poetry was formed
before Confucius’ birth, when it was called “The Three Hundred Poems”
instead of the “Classic of Poetry”. Therefore, the claim of “the deletion
of the poems by Confucius” is untenable. Besides, those which were
called “lost poems” were not necessarily those deleted by Confucius,
but left out by people of the early Han Dynasty when they were written
down according to memory. The second topic is about the issue of the
“Praise and Satire”. The article argues that the “Mao Commentary”
(Mao Shi) and the “Three Schools’ Commentary”(San Jia Shi) hadn’t
diverged much in interpreting most pieces of The Classic of Poetry,
however, they had different ideas on the issue of the “Praise and
Satire”, which was related to Confucius’ attitude towards The Classic
of Poetry. The differences usually lie on the inciters’ focuses of
attention instead of on their original intentions. The third topic
is about some predecessors’ opinions concerning the chronological
problems of some poetry. The Spread of The Classic of Poetry During
the Spring and Autumn Annals Period When People Used to Recite and
Refer to the Poems Abstract:This article first presents
the basic ways of the spread of The Classic of Poetry, then traces
the causes of the flourish and decline of people’s tending to recite
and refer to The Classic of Poetry in the Spring and Autumn Annals
Period. It argues that the frequent using of the poems provided The
Classic of Poetry a vastest ground to spread, speeded up the alienation
between lyrics and music, and strengthened the moral teaching. Finally
it became the source of Confucius tradition on poetry and its moral
teaching. The article also argues that if “king-respecting, rites-revering”
was key to king Qi-huan’s achievement, his successors instead tried
to express their ambitions by the frequent using of the poems, which
contributed to the final flourish of it by the time of king Xiang
and Zhao. When king Zhou’s political impact was weaken and disappeared
with the loss of his royal status, the impact of its Rites and Music
was deteriorating too, which accounted for the “music and poems were
no more prevalent at states” as the historical necessity. On “Commenting on The Classic of Poetry in
Terms of Propriety (Li)” of Bamboo Slips of “Commentary to The Classic
of Poetry” Collected by Shanghai Museum Abstract: The article discusses “Commenting
on The Classic of Poetry in terms of propriety’, which is one of the
main ideas of what Bamboo Slips of Commentary to The Classic of Poetry
collected by Shanghai Museum. Studying commentary on “Quince”, “Banquet”,
“The Great Field ” and “Singing of Dear”, the article argues that
the idea “Commenting on The Classic of Poetry in terms of propriety”
originated neither from Zheng Xuan’s Exegesis, nor from Mao Commentary.
Indeed it is a long tradition which can be traced back to Confucius. A Close Examination on Zhu Xi’s Abolition
of the Prefaces to The Classic of Poetry Abstract: The article focuses on three
main points: first, the reason of Zhu Xi’s abolition of the prefaces
to The Classic of Poetry (Shi Jing); secondly, how Zhu Xi exactly
criticized the prefaces; and thirdly whether it is fair on the previous
evaluation of Zhu Xi’s abolition of the prefaces. Based on a compilation
of bibliography of Shi Jing criticism, this article makes a close
examination on Zhu Xi’s search of the original meaning of The Classic
of Poetry and his act of abolition. In addition, it provides a specific
criticism on two kinds of distorted opinions represented by Yang Shen
and Yao Ji-heng on Zhu Xi’s abolition of the prefaces to The Classic
of Poetry. Li Sao: Symphony of Life and Death Abstract: The article argues that Li
Sao is about Qu Yuan’s inner conflict on life and death. “Li Sao”
originally is the name of music in King Shun’s time. In the later
half of Li Sao, Qu Yuan goes to heaven to ask the guardian for permission,
and to look for goddess. Qu Yuan’s soul returns to the dwell of Gao
Yang by means of following Peng Xian who committed suicide by drowning.
Qu Yuan’s view about the form of death is based on Chu people’s philosophy
of universe forming that is “The logos comes from water and is in
the form of water.” On the Lyric Characteristic of Lu Ji and Cao
Zhi’s Poetry in Terms of the Theory of “Lu Ji Originates in Chen Si”
and its Effect in the Literatorization of Poetry Abstract: Zhong Rong said in Shi Pin
that Lu Ji “originates in Chen Si”. Although he didn’t mention the
traits of Lu Ji’s poetry, from his comments on Lu Ji and Cao Zhi,
the two poets had something in common concerning the emotional characteristics
and artistic forms. This article focuses on the view of “Expression
of emotion with odes and mild remonstrance”, arguing that the two
poets’ artistic characteristics lie on “Set a suggesting phrase in
an essential spot”(li pian yan er ju yao), which is the same origin
of Cao Zhi’s idea of “comparison and affective image” (bi-xing) and
Lu Ji’s idea of “Set a Riding Crop”(li jing ce). The common ground
was revealed apparently in the creation of the five-syllabic verse,
and its basic direction of development was decided. On the Anthologies of Chinese Poetry Compiled
and Published in South Korea Abstract: This research attempts to
synthesize and investigate the anthologies of Chinese poetry compiled
and published in South Korea. Firstly, the article discusses the development
of North Korea’s compilation work, the import and publication of a
vast number of anthologies of Chinese literature of poetry in South
Korea. Secondly, it divides the South Korea’s anthologies of Chinese
poetry into two groups — the comprehensive anthologies and the individual
anthologies — and discusses them separately. Thirdly, it talks about
the role that the compilation work of the anthologies of Chinese poetry
plays in the history of literature. The Han Shan Poetry Anthology collected in
Gong Nei Department of Japanese Is Not Song Dynasty’s Block-printed
Edition: A Textual Research Abstract: The Han Shan Poetry Anthology
collected in Gong Nei Department of Japanese was affirmed to be a
Song Dynasty’s block-printed edition by Dao-tian Han and Miao Quan-sun.
Based on a textual research of a postscript of the edition, this article
proposes that the anthology was printed in early Yuan Dynasty. Abstract: This article points out the
fact that, although Li-e admired Zhou Bang-yan’s song lyrics (Ci),
his own composition was a bit from Zhou’s in terms of subject, structure,
image and emotional response. Li-e, who accepted Zhou’s advantages
in subtlety and harmony, while abandoned Zhou’s improperness caused
by his compliance with melody, made Ci a kind of “poetry, uneven in
length”. This should be attributed both to Li’s knowledge of Ci as
a genre and to the contemporary criteria “lucid, real, grace and proper”. Controversies about Zhou Bang-yan’s Song lyrics
in the 20th Century Abstract: In the 20th century, there
has been a great disparity in comments on Zhou Bang-yan’s song lyrics
(Ci), some of which were even diametrically opposed to each other.
Therefore, this article summarizes the achievements made on the researches
of Zhou Bang-yan’s song lyrics and reviews on reversal issues causing
controversies, among other, whether his song lyrics have intended
points (ji tuo) or not; whether the tunes he uses are new or not;
the style, achievements and artistry of Zhou Bang-yan’s song lyrics;
the comparison between Zhou Liu and Zhou Jiang; the status and influence
of Zhou Bang-yan in the song lyrics history; the evaluations of Wang
Guo-wei and Qing-zhen song lyrics. In doing so, this article is striving
to summarize Zhou Bang-yan’s achievements and defects, as well as
to discern the schools and trends of researches on Zhou Bang-yan’s
song lyrics in the 20th century. History of Vernacular Song Scholarship of
the 20th Century Abstract: Vernacular Song (San Qu),
as a poetic genre and a subject of study, had long been ignored. Awakened
by the May Fourth Movement which advocates colloquialism, it has been
an independent subject in nearly one hundred years. This article tells
the history of vernacular song leaning, collecting achievement made
by laborious scholars in the margin subject. The article also reflects
the limit of the subject and predicates the direction of the future
development. On the turning of the century, the subject has an urgent
need of the basic foundation for the new researchers, which is the
aim of the article. Theories of Chinese New Poetry: Poetic Morphology
in the Modernization Process Abstract: Theories of Chinese New Poetry
in the 20 th century is a brand new poetic morphology in the modernization
process. This article presents the way of the development of new poetry
theories, focusing on the importance and value of several issues such
as calling for the modernization of poetry, liberation and revolution
of poetic styles, changing of rhyme, embracing of realism, Romanticism
and modernism. Research on Niu Han’s Poetic Arts Abstract: The article puts Niu Han’s
poems in the background of region, society, national psychology, and
makes a comparison in the respect of esthetic taste and culture sources
between Niu Han and the “July-School” and the “Nine-Leaves-School”
poets. Niu Han’s poems show different styles in accordance with different
periods. Sometimes, it is bold, generous and lyrical, sometimes, it
is serious, sublime and full of spiritual search. Since the change
of his language style follows with the change of his esthetic style,
the article analyses his “childbirth-like” apprehension on the poetic
language. As for the poetic devices, Niu Han introduces painting into
poetry, thus, a strong visual effect is attached to his poems. In
addition, the article makes a close reading of the main images presented
in his poems.
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