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“大小宋”与明末清初云间词派的勃兴
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 [PDF]

莫立民
- , 2016,
Abstract: 宋征璧为宋征舆从兄,号为“大宋”,宋征舆则称“小宋”。他们是明末清初云间词派词学活动的最早组织与核心主持人,是云间词派词学理论的主要奠基者,也是云间词派创作成就最高的词人之一。由于陈子龙崇高的历史地位,广泛而深远的文学影响,以及大小宋名节有亏,清代与此后的诸多词论家多淡化或不提大小宋的重要词学贡献,而将陈子龙视为云间词派的开派宗主。
晚宋“骚雅”词论与江西诗学  [PDF]
,
- , 2017,
Abstract: 张炎《词源》是晚宋最为重要的词学专论,在“清空”、“质实”、“骚雅”、“意趣”等原创词学范畴中,“骚雅”是对南宋以来尚雅之风复炽现象最为直接的理论回应,也反映出苏轼、辛弃疾之后,词坛在趋时通变背景下出现的以江西诗学为核心、以诗为词的风格转型。在江西诗学与两宋特别是晚宋词学词风的交叉视野中,可以从诗骚以来的诗教传统、清刚峭拔的诗境格调、“活法”建构的诗性语言三个层面看到江西诗学对“骚雅”词论的深刻影响。
Zhang Yan’s Ci Yuan 词 源( Origin of Ci Poetry) was the most important monograph of ci studiesduring the late Song Dynasty. Among the original ci categories such as qingkong清 空( literally clear and empty) ,zhishi 质实( literally substantial and solid),saoya 骚 雅( literally classical and elegant) and yiqu 意 趣( literallymeaningful and interesting),the category of saoya was the most direct theoretical response to the revival of thepursuit of elegance in poetic creation since the Southern Song Dynasty. It also reflected the transformation in thestyle of ci poetry advocated mainly by the critics and poets from the Jiangxi School who favored writing ci poemsin the style of classic poems rather than still following the fashion started by Su Shi and Xin Qiji. The influenceof Jiangxi Poetics on the theory of saoya in ci poetry can be observed from its convergence with the poetics of theSong Dynasty and in particular that of the late Song Dynasty and explored from the following three aspects:thepoetic tradition dating back to shijing诗 经( aka Book of Songs) and lisao 离 骚( literally Encountering Sorrow);the poetic style of toughness and strength;and the poetic language characterized by huofa活法 (literally creativeacceptance and imitation
两宋饮茶风俗与茶词  [PDF]
沈松勤
浙江大学学报(人文社会科学版) , 2001,
Abstract: ?饮茶风俗始于唐而盛于宋。宋代饮茶作为一种“客礼”仪制,渗透到了社会各阶层。围绕该“客礼”,引发出多种风俗行为,词人创作茶词,歌妓歌以侑茶,便是一个突出的表现。茶词与其他众多的酒词、应歌词、节序词和寿词一样,具有社交、娱乐和抒情三种功能。茶词的创作是一种词学现象,同时也成了宋代多姿多态的茶礼茶俗的有机组成部分,丰富了“茶文化”的表现形态与内涵。
清以降词学批评对南北宋之宗的消解  [PDF]
胡建次
安徽师范大学学报(人文社会科学版) , 2015,
Abstract: 清以降词学批评对南北宋之宗的消解,大致划分为四个时期清代前期为导引与凸显,清代中期为承衍与拓展,清代后期为充实与深化,民国以降为完善与张扬。清以降词学批评对偏尚南北宋之论予以了不遗余力的消解,将兼融并取南北宋词的主张不断展衍与张扬开来,从一个视点有力地提升了词学批评的层次与水平。
试释宋本《玉篇·五音之图》与“宫商”“五姓”之名  [PDF]
郑伟
- , 2017, DOI: 10.16382/j.cnki.1000-5579.2017.01.012
Abstract: 摘要 从汉魏至宋元的汉语语音史文献中常常提到“五音”“五声”“宫商角徵羽”“五姓”等相关的名目,已有不少学者做过解释。“五音”在大多数文献中都用来指称声母的类别(“唇牙喉舌齿”),“宫商”之名也有类似的涵义。论文中指出,宋本《玉篇》后附《五音之图》的“五音”包含了10个代表字,每组2个,一共五组。其区分标准并非声母、声调,也不是介音或主元音,而是“韵”的语音性质,即主元音和韵尾搭配后的五种不同的口腔发音状态。另外,汉代以来的文献资料里将“五姓”与“宫商”相联系,也应该从这个角度来解释,而且历史上前后一致,很有规律。
Abstract: The items like "five tones"(wuyin), "five sounds"(wusheng), gong-shang-jue-zhi-yu, and "five families"(wuxing) have been frequently mentioned in the literature of phonology from the Han-Wei to the Song-Yuan Dynasties. There has been various explanations since the Qing Dynasty. In most cases, "wuyin" or "gong-shang" refers to the types of initial consonants(of lips, teeth, throat, tongue, etc.). This thesis finds that "wuyin" in "The Chart of Five Tones" attached to Yupian of the Song version contains ten representative characters which are divided into 5 groups with 2 characters in one group. The standard of division is neither consonant or tone nor head vowel or main vowel, but articulatory gesture of the rhymes among the characters, that is, five different mouth shapes to pronounce the main vowels combining with the terminal sounds. In addition, it can also be explained from this angle the coherent connection of "wuxing" with "gong-shang" in the texts since the Han Dynasty.
词坛沉寂与“南词”北进——宋初百年词坛考察  [PDF]
沈松勤,楼培
北京大学学报(哲学社会科学版) , 2013,
Abstract: 宋朝立国后的七八十年间,“士大夫乐章顿衰于前日”,词坛萧条寥落,其背后体现了政治文化的取向与重南轻北格局。随着北宋大一统政权的深入运行,南方文人士大夫的政治地位逐渐提高,歌伎歌舞佐酒的社会风气日趋盛行,作为南方人的文学,词的文化生态也日渐成熟。经过近百年的涵养,至仁宗朝,汴京新声竞繁,柳永、张先、晏殊、欧阳修等词人先后由南入北,将词从南方送至北方,取得“南词”北进的重大进展,使汴京成为继西蜀成都、南唐金陵之后的词坛中心,承先启后,融合南北,开创宋词一代新风。
改刊词  [PDF]
赵士洞
资源科学 , 1998,
Abstract: 改刊词
逸韵流风 踵唐启宋──五代诗歌的艺术特征  [PDF]
浙江大学学报(人文社会科学版) , 1999,
Abstract: ?五代诗的创作纷繁复杂,在继承唐诗的传统中,艺术上呈现出浅俗、绮艳与清寂三大特征,这些特征直接影响了宋初的诗风。五代诗反映了特定时期的社会文化心理与诗人创作心态,其创作的得失非常值得总结。
别是一家词——论李清照  [PDF]
裴斐?
天府新论 , 1987,
Abstract: 李清照《词论》所说“词别是一家”,系针对苏轼等人而发。其实,早在她之前,苏轼同时代人陈师道、晁补之和张耒诸人便指出过“子瞻以诗为词”、“先生(东坡)词似诗”、“东坡词,人谓多不谐音律”;李清照正是根据这种流行的议论提出自己的命题。“词别是一家”,即词有别于诗,其论点如下:
禅宗与芗林居士及其词  [PDF]
刘晓珍?
天府新论 , 2006,
Abstract: 在两宋之交的看话禅与默照禅(尤其是默照禅)的影响下,芗林居士向子创作了不少禅词,部分禅词达到了较高的艺术水准,为提高词的境界、开拓词的艺术空间作出了贡献。对这一问题作初步的探讨,试图阐明向子及其词作与禅宗思想之间的深刻关联。
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