人文中國學報最新文献

{"title":"唐李康成《玉臺後集》蠡測———“玉臺詩史”、“玉臺美學”的建構","authors":"麗娟 歐","doi":"10.24112/sinohumanitas.282040","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282040","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000本文探討李康成《玉臺後集》。作爲一部失傳已久、由現代學者重加輯録的殘本，自其序言可知編纂動機、原始規模、選録標準，配合選集中詩家與選詩的個案研究，以及中晚唐的詩歌發展現象，足以掌握這部經典續編的意義。可以說，李康成的編纂反映了從南朝延續到唐代的典律之爭，於《文選》的崇盛風潮下，意圖以《玉臺後集》揄揚《玉臺新詠》的詩學價值，透過這部續編，一方面是“玉臺詩史”的完整建構，一方面則是“玉臺美學”的全面確立，而這兩個範疇彼此互爲強化，亦即“玉臺詩史”的建構延續了“玉臺美學”的確立，而“玉臺美學”的確立又有助於“玉臺詩史”的建構，從而擴大《玉臺新詠》的影響力。 \u0000值得注意的是，《玉臺後集》作爲對《玉臺新詠》的接受反應，失傳後保留其殘篇的後世文獻又呈現出對《玉臺後集》的接受反應，將此一獨特的歷時現象給予綜合觀察，將展示出“玉臺美學”備受壓抑的高度生命力，以及“玉臺詩史”的淵遠流長。 \u0000In Chinese literary tradition, an anthology is always a powerful means to express literary thought and to initiate or continue an attitude towards literary composition and criticism. This is especially the case in the Tang, as poetry anthologies compiled by Tang critics reveal the poetic thought of Tang poets and anthologists. This paper proposes to study a Tang poetry anthology, the Yutai houji (Sequel to the Jade Terrace), with a focus on ideas about the significance and the value of poetry revealed therein. \u0000Yutai houji is the first sequel to the sixth-century anthology Yutai xinyong (New Songs from the Jade Terrace). Very little has hitherto been done to this anthology mainly because of its fragmentary status. Despite the dearth of relevant information, the present essay aims to study the attitude of this anthology. The discussion will focus on two aspects. The first is about the history of Tang poetry in the Yutai style (so called Yutai poems); the second is about the Yutai aesthetics. This study is expected to shed some light on the role and significance of Yutai houji in traditional Chinese literary criticism, a topic that has long remained unheeded and understudied.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129690596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"近現代報刊傳媒與戰前新馬漢詩","authors":"兵 王","doi":"10.24112/sinohumanitas.282046","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282046","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. 在1881年《叻報》創辦之前，新加坡和馬來西亞的漢詩創作無法進入公衆的視野。而在《叻報》創立至1941年底新馬淪陷前的60年間，新馬中文報紙的發展異常迅猛，陸續誕生的報紙計有《檳城新報》、《星報》、《天南新報》、《日新報》、《總匯新報》、《中興日報》、《南洋商報》、《星洲日報》等二十餘種。這些華文報紙，幾乎每一種都定期或不定期地登載舊體詩。因此，華文報刊的定位、副刊主編的喜好等也會影響到新馬漢詩的發展。同時，新馬地區這一時期出現的“新派詩”亦可視爲這一傳播載體影響下的産物。另外，就華文報刊對於傳統漢詩發展的意義而言，近現代華文報刊登載漢詩的意義不僅僅局限於提供傳播渠道和保存原始史料，更爲深層的價值在於詩人的創作成果從“私人領域”進入了“公共空間”，從而實現向廣大讀者傳達審美欣賞、文化再現和社會政治參與等層面的價值。 Han poetry (classical Chinese poetry) did not enter the sphere of the general public until the publication of Malaya’s first newspaper, Lat Pau, in 1881. In the 60 years of its publication history, from 1881 to late 1941 before the downfall of Singapore and Malaya, the Lat Pau witnessed a rapid, robust development of Chinese newspapers. Following this were the respective debuts of more than 20 newspapers, such as Penang Sin Poe, Sing Po, Thien Nan Shin Pao, Jit Shin Pao, Union Times, Chong Shing Yit Pao, Nanyang Siang Pau, and Sin Chew Jit Poh. These newspapers became important for the circulation of classical poetry, as some of them published poems on a periodic basis and some daily. Therefore, the status of Chinese journals and newspapers and preferences of the editors were decisive factors in the development of Malayan Han poetry. Meanwhile, the “new-style poetry” that emerged at this time may be seen as products of Chinese newspapers published at this time. Furthermore, the significance of publishing classical Chinese poetry in modern newspapers lies not only in the provision of communication channels and the preservation of original materials, but, more importantly, they brought the poets’ creative works from a “private sphere ” to the “public space,” and thereby conveyed to the reader the values of aesthetic appreciation, cultural reproduction, and social and political participation.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129003873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"王引之《楚辭》評點辨僞———兼論清末時期善本觀念的轉變","authors":"鴻圖 陳","doi":"10.24112/sinohumanitas.282044","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282044","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000舊題王引之《楚辭》評點，原書於明人陸時雍《楚辭榷》上，最早經由傅增湘購入，後歸藏於張元濟涵芬樓。本文首先敍述王引之《楚辭》評點本的購藏與著録，繼而整理前賢對是書真僞的看法，然後通過仔細分析全書169則條目，首次提出王引之的評點篡改自明代凌毓枬校刊《楚辭》以及朱熹《楚辭集注》等書。從本文提出的各項僞作新證，可以確證此書經過妄人竄改，乃至用不同評點掩蓋僞作痕迹，應當是坊賈射利之作。由此亦反映出，清末時期善本觀念的轉變，名人批校本逐漸受人重視，以致對批校本作僞的意圖大爲增加。 \u0000The commentary traditionally attributed to Wang Yinzhi (1766-1834) is appended to Lu Shiyong’s (Ming dyn.) Chuci que [A Discussion of the Songs of Chu]. The book was first purchased by the famous bibliophile Fu Zengxiang (1872-1949), and was later acquired by Zhang Yuanji (1867-1959) in his Hanfenlou library. This paper begins with a narrative on the history of circulation and the commentary attributed to Wang, along with its appearances in various bibliographic records. After this is a review of how previous scholars have evaluated the authenticity of the text. Through a thorough analysis of the 169 comments attributed to Wang Yinzhi, the paper argues that these commentaries were extracted from an edition of the Chuci edited and published by Ling Yuzhan in the Ming dynasty and Zhu Xi’s (1130-1200) Chuci jizhu [The Songs of Chu with Collected Annotations and Commentaries] compiled in the Song. Considerable textual evidence proves that the forger of this book interpolated commentaries by different hands. The incentive for this was likely the profitability of the publishing industry of the time. This case study reflects the advent of a change in the perception of rare books in the late Qing. This period witnessed a heightened interest in annotations composed by famous scholars; hence there was an increase in forgeries of annotated texts of this kind.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127662639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"從《漢書•藝文志》、《文心雕龍》看中國文學之抒情與敍事兩大傳統之關係","authors":"春泓 汪","doi":"10.24112/sinohumanitas.282039","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282039","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000將《漢書•藝文志》與《文心雕龍》作爲一個文化參照來看中國文學裏的抒情傳統和敍事傳統，此二者完整地存在於這兩種文獻之内，並且屬於不可分離、割裂的關係；從《漢志》所謂“九流十家”，闡發中國抒情與敍事兩大傳統的民族特點，也可與西方形成對照。 \u0000The present essay attempts to examine two major traditions in Chinese literature, namely lyricism and narrative, from a cultural perspective based on the “Monograph on Literary Writing” of the Hanshu and the Wenxin diaolong. It argues that these two traditions have a substantial presence in these two sources and that they have an undividable relationship. It also demonstrates the national characteristics of these traditions as seen in the so-called “nine streams and ten schools” in the “Monograph on Literary Writing,” which form a contrast with its counterpart in Western thought.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134283528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"杜甫詩史、敍事傳統與《春秋》書法","authors":"高評 張","doi":"10.24112/sinohumanitas.282041","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282041","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000杜甫三十歲時，曾作《祭遠祖當陽君文》，稱遠祖杜預：“《春秋》主解，稿隸躬親。嗚呼筆跡，流宕何人？”當下許諾“不敢忘本，不敢違仁”。晚唐孟棨（啟）《本事詩》稱杜甫逢安禄山之難，“流離隴蜀，畢陳於詩。推見至隱，殆無遺事，故當時號爲詩史。”《史記·司馬相如列傳》稱，“《春秋》推見至隱”，可見杜甫詩號爲詩史者，除了“詩是吾家事”之外，其中自有《春秋》書法之薪傳在焉。清章學誠《上大司馬論文》稱：“敍事實出史學，其源本於《春秋》比事屬辭。”今選擇杜甫詩敍事歌行，關注其善陳時事之特質，持屬辭比事之《春秋》教，考察其中推見至隱之書法，就杜甫詩史與屬辭比事之敍事傳統，分三項考察之：一，屬辭比事，筆削顯義；二，據事直書，美惡自見；三，微婉顯晦，推見至隱。援舉杜詩相關作品，參考清人杜詩說解，藉以探索杜甫詩之敍事傳統。夫然後知抒情傳統之外，敍事傳統也者，尤爲中國文學源遠流長之重要特色。 \u0000When he was thirty years old, Du Fu (712-770) wrote “A Funeral Oration for My Ancestor, Dangyang Jun,” in which he praised his ancestor Du Yu (222-285): “Commentating the Chun Qiu, / He transcribed it by his own hands. / Alas! His own handwriting, / To whom will it pass on?” He then made a promise: “I dare not forget about my roots, / And dare not violate benevolence and righteousness.” Meng Qi of the late Tang commented on Du Fu’s suffering during the An Lushan rebellion: “He wandered to the Long and Shu regions and wrote about all of his experience in his poetry. Its hidden meaning may be inferred—perhaps no incident is left unaccounted for. For this reason, he was given a sobriquet of poet-historian.” The “Biography of Sima Xiangru” in the Shiji says, “Chun Qiu allows one to infer the message hidden in the most profound text.” Therefore, the reason why Du Fu’s poetry was referred to as “poetry-history” was not only because, as he claims, “poetry is my family’s matter,” but also because of his inheritance of the writing style of Chun Qiu. Zhang Xuecheng (1738-1801) wrote in his “Discourse on Literature, Presented to Grand Protector”: “Narrative was in fact derived from historiography. Its origin was in word connection and event arrangement in Chun Qiu.” This study pays special attention to the proficiency at narrating current events observed in some narrative ballads selected from Du Fu’s works. It takes into consideration the model method of “word connection and event arrangement” from Chun Qiu in its examination of the writing style of “hidden meaning may be inferred” in Du Fu’s poetry. In its discussion of Du Fu the poet-historian and his method of “word connection and event arrangement,” the essay analyzes three aspects: 1) “word connection and event arrangement” and manifesting the principles by writing method; 2) writing according to facts and thus praise and condemnation will naturally be shown; 3) showing the implicit through a subtle and euphemistic style and “the hidden meaning may be inferred.” It will analyze relevant examples of Du Fu’s works in light of commentaries by scholars of the Qing dynasty in order to explore the narrative tradition in Du Fu’s poetry. Therefore, in addition to the lyrical tradition, we learn that the narrative tradition has a long history and plays an important role in the history of Chinese literature.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125559751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"晚清婚姻文化中的重逢花燭慶典：鄔啟祚夫婦個案研究","authors":"詠聰 劉","doi":"10.24112/sinohumanitas.282045","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282045","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000“重逢花燭”指古代夫婦慶祝結褵六十周年，重新燃點花燭，再次舉行婚禮。本文以廣東番禺鄔啟祚（字繼蕃，號吉人，1830—1911）及其妻周氏（1828—1915）之重逢花燭慶典進行個案研究，並運用鄔家著述及結集三百多篇賀作的《南山佳話》爲主要參考文本，嘗試推敲當時盛況，亦藉以窺探中國傳統婚姻文化中較少爲人注意的一面。 \u0000The term “reunion under the exquisite candles” (chongfeng huazhu) means to light the wedding candles again, referring to the second wedding of the same couple to celebrate their sixtieth anniversary in pre-modern China. This article features the chongfeng huazhu celebration of Wu Qizuo (1830-1911) and his wife née Zhou (1828-1915) in late Qing Panyu, Guangdong province. It makes use of various publications of the Wu family, and particularly the Nanshan jiahua (Fine Talks of the South Mountains), a commemorative volume that contains over three hundred congratulatory messages, in the study and reconstruction of the occasion to shed light on a previously under-discussed dimension of the marriage customs in traditional China.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129360325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"嚴志雄：《牧齋初論集———詩文、生命、身後名》","authors":"建業 許","doi":"10.24112/sinohumanitas.282047","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282047","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese only. \u0000嚴志雄先生新著《牧齋初論集一一詩文、生命、身後名》，是繼The Poet-historian Qian Qianyi（Routledge，2009）（此乃嚴先生1998年博士論文修訂而成，中譯本《錢謙益的“詩史”理論與實踐》將於今年由中華書局出版）、《錢謙益〈病榻消寒雜咏〉論釋》（臺灣“中硏院” ，2012）、《秋柳的世界一一王士祺與清初詩壇側議》（香港大學出版社，2013）等之後的重要論著。若初步翻看諸作目録，我們會很容易判斷新著僅爲與錢謙益詩文相關的論文集，與之前幾部精心擘劃論述方法與規模的作品很不一樣。已故學者張暉（1977—2013）評論《錢謙益〈病榻消寒雜咏〉論釋》時已指出，嚴先生首兩部著作在結構上“存在著一些相似之處”，即從架構上先將理論框架和問題意識辨析清楚，開展具體的課題探討，然後聚焦到詩歌文本的細讀（close reading），從而進入和理解詩人生命所面對不同境遇、關情與證悟。（《〈錢謙益《病榻消寒雜詠》論釋〉的啟示意義》，《朝歌集》，2013年）若仔細辨察，二書又有分別：前者先釐清錢氏的“詩史”槪念，繼而以詩歌文本對照參證；後者先分專題議論，確立組詩意義，再透過仔細的箋釋工夫辨析和深化各詩語詞背後的本事、意象和符碼，不單結構創新，也是一種論述方式的超越。這種相似與超越，反映嚴先生對論述理路和方法的深思熟慮，並非偶然。以此延伸照看，若我們將嚴先生四部作品視作更爲宏大的論述結構安排，《牧齋初論集》雖似乎沒有自成緊密的體系，但結合前三者，則體現了嚴先生這些年來治學思路的層累，以及理論關懷的輻輳反映。(撮要取自內文首段)","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123460608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"卿憐及相關作品考論","authors":"杏根 趙","doi":"10.24112/sinohumanitas.282043","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282043","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000清乾隆間，吳地常熟女子王伏，爲浙江巡撫王亶望所娶爲侍妾，以卿憐名。王亶望因貪腐被殺，其後某年，卿憐被侍郎蔣賜棨送給和珅爲侍妾。和珅垮臺，卿憐所作或托名卿憐所作並且以她的經歷和情感爲題材的詩歌，開始流傳。以其故事爲題材的詩文、詩話、筆記等廣爲流傳，其中不乏出自名家之手的優秀作品。這些作品，反映了當時的官場生態和文化生態，抨擊貪官、警示世人，諷刺那些當初攀附貪官、謀取貪官恩惠的人。 \u0000Qinglian was a nickname given to Wang Fu, a native of Changshu in the Wu region who lived in the Qianlong reign-period (1736-1795), when she became concubine of Wang Danwang, governor of Zhejiang province. A few years after the latter was executed for corruption, Qinglian was given to Heshen as a concubine by Jiang Ciqi. After the downfall of Heshen, the poems authored by or attributed to Qinglian began to be circulated. These poems are mainly about her life and feelings. In the meantime, her story became a significant theme in some poetry, essays, poetry critique, and narratives, which were in wide circulation. Among these works were some of high quality and some by famous writers. These works may be seen as a warning as they criticized the corrupt officials and satirized those who were once adherents to corrupt officials in order to curry favor.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132445045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"關於道的名、字、號：重讀《太一生水》","authors":"冠雲 黄","doi":"10.24112/sinohumanitas.282037","DOIUrl":"https://doi.org/10.24112/sinohumanitas.282037","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000《太一生水》是1993年出土於湖北省荊門市郭店村一座戰國墓葬的竹簡文獻。本文爲之提出一個新的解釋，除了詳細檢討過去研究所提出的幾個主要觀點，更在新材料（包括新近發表的出土材料與過去沒有受到重視的傳世記載）的基礎上作出綜合論述：《太一生水》反映一場關於“道”與“一”的論辯。重構這場論辯，可以找回先秦思想史的一段被遺忘的故事，認識到《太一生水》與衆不同的獨特内涵，並且將之置入一個思想史的脈絡。 \u0000This study provides a new interpretation of “Grand One Gives Birth to Water” (“Taiyi shengshui” 太一生水), a manuscript discovered in the Warring States tomb in Guodian, Hubei Province, in 1993. Responding to earlier studies of this text and also taking into account relevant textual evidence that has only recently come to light, both among excavated texts and the received literary records, the present essay shows that “Grand One” is distinct from the Laozi and other materials that bear only a formal resemblance to it. In fact, “Grand One” was at the center of a debate about the Way and that other elusive notion in Early Chinese thought, “One.” The reconstruction of this debate restores a forgotten episode in ancient intellectual history and places “Grand One Gives Birth to Water” in a context vis-à-vis other textual sources.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"39 18","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114028411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"清代狀元李振鈞的詩性養成及其詩歌特性考論","authors":"鵬飛 郭","doi":"10.24112/sinohumanitas.272052","DOIUrl":"https://doi.org/10.24112/sinohumanitas.272052","url":null,"abstract":"LANGUAGE NOTE | Document text in Chinese; abstract also in English. \u0000道光九年狀元李振鈞著有《味燈聽葉廬詩草》二卷，在後期作品大量散佚的情況下仍存詩四百餘首。李振鈞的人生境遇、詩性養成與科舉考試密切相關，他的詩是窮而後工的表現。詩學上轉益多師，取法多變，而通籍後所作大概與陸游詩最爲契心，故受陸詩的影響較大。遺憾的是，同處於晚清宋詩運動的浪潮中，由於種種原因，李振鈞卻是個邊緣人物。他的詩集經歷百年沉埋再見于世，雖未給人以滄海遺珠的驚喜，但仍不失爲晚清文學史研究的一個有價值的案例。 \u0000Ranked number one in the national civil service examination of the ninth year of the Daoguang reign period (1829), Li Zhenjun is the author of Drafted Verses of the Studio of Tasting the Lamp and Listening to the Leaves (Weidengtingye lu shicao) in two fascicles. More than 400 poems are still extant even though most of his works dated from his later years did not survive. The national civil service examination had a profound impact on Li Zhenjun’s life and the formation of his poetic cultivation. His poetry is a realization of the common theory that “one’s poetry excels only when one becomes disillusioned.” In poetics, Li emulates several masters and adopts a variety of methods. His poems written after taking office became a close match with Lu You’s, as a result of the profound influence from Lu. Unfortunately, for some reason Li was marginalized in the Song-dynasty shi-poetry movement during the late Qing period. After a century of obviation, Li’s oeuvre was rediscovered. Although it has not been a great surprise, it serves as a valuable resource for a case study of the literary history of the late Qing period.","PeriodicalId":108589,"journal":{"name":"人文中國學報","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131204245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}