Siling Poems consists of poetry written by Xuezhao (namely Linghui), Xueji (Lingyuan), Ongjuan (Lingshu) and Zhaoshiiu (Lingxiu). The four poets had the same interests and they were good friends with each other. In their names there¡¦s the word, ¡§Ling¡¨, and their styles were quite similar, therefore the poems they created were called the Siling Poems (They were also called the Yongjia Siling). The Yongjia Siling was a famous and unique poetry group after Jianxi poetry group in South-Song. Their styles mainly focused on the restoration of the late Tang Dynasty style. They wanted to correct the impropriety of Jianxi poetry. The four poets valued Jiadao and Yaoheyi very much and they liked their style of chanting and writing poetry. Their literary evolution developed in a logical way, same as the Siling. They adopted the styles of the middle and late Tang Dynasty, the nine monks in the Song Dynasty and the styles of the late Tang Dynasty in North-Song (such as Weiyie, Linbu and Kouzhun). They even influenced the poets in the Jiahu poetry group. The four poets had ordinary family backgrounds and their talents were mediocre, but still some interesting poems can be found in their work. Yet the scholars did not focus on them, and only fewer relevant studies can be seen. This study aims to understand the performing characteristics of the four poets. There are seven chapters in the thesis. Chapter I: The introduction. The study motivation and purpose, literature review and research, as well as the study scope and methods are introduced. Chapter II: Time background. From viewpoints of politics and social environments and literature thought; relevant influences from South-Song to the Siling Poems are discussed. Chapter III: The biographies of the four poets and their styles. The styles of Jiadao and Yaoheyi, the styles of late Tang Dynasty and late Tang Dynasty in North-Song are also discussed. Chapter IV: The introduction of Siling Poems. Introduction of its subject orientation, literature concept and analysis of the forms. Chapter V: The art performance of Siling Poems (part I). The application in rhetoric, i.e. the allusion, metaphor and reiterative. Poems are analyzed. Chapter VI: The art performance of Siling Poems (part II). The application in rhetoric such as the antithesis, connection, words with double meanings and polished words. Samples are introduced. Chapter VII: The status of Siling Poems in the history of literature. Discusses the influence of the Siling Poems on the Jiahu poetry group and later generations.

Submitted by Fernando Souza (fernandoafsou@gmail.com) on 2017-08-23T14:51:46Z No. of bitstreams: 1 arquivototal.pdf: 1052938 bytes, checksum: 7305f80308b191bddba5a121af2eb806 (MD5) / Made available in DSpace on 2017-08-23T14:51:46Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1052938 bytes, checksum: 7305f80308b191bddba5a121af2eb806 (MD5) Previous issue date: 2016-08-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following research investigates semiotically the songs dialogue (lyrics and melody) with the Carlos Diegues’ cinema, taking into account the productions that really had popular songs inserted in the filmic context. Among the existing productions we chose Veja Esta Canção (1994), whose theoretical foundations of cinema and literature that involves the study of poetry and popular song will be guided by studies on Semiotics of Culture, mainly the Russian ones, in order to understand the modeling of poetic system of song designed in cinematography of the film as a text of culture, thus contributing for a intersemiosis between rhythmic movements and the moving image. / A seguinte pesquisa busca investigar semioticamente o diálogo de canções (letra e melodia) com o cinema de Carlos Diegues, levando em conta as produções que realmente tiveram canções populares inseridas no contexto fílmico. Dentre as produções existentes, escolhemos Veja Esta Canção (1994), cujas fundamentações teóricas do cinema e da literatura que envolvem os estudos de poesia e da canção popular serão norteadas pelos estudos da Semiótica da Cultura de extração russa, no intuito de compreender a modelização do sistema poético da canção projetada na cinematografia do filme como um texto da cultura, contribuindo, assim, para uma intersemiose entre os movimentos rítmicos e a imagem em movimento.