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Fengci and Korean aesthetic- political analysis : Jung Yak - yong’s Commentary on The Book of Odes / Jung Yak - yong's Commentary on The Book of OdesJiang, Zhangwei 18 June 2012 (has links)
The Book of Odes carries specific classical aesthetic, political, social and literature value. How it was reflected by traditional scholar Chŏng Yak-yong in monarch Chosŏn dynasty within the rhetoric end? Between the conflict within text knowledge of traditional classics and practical knowledge of western learning, how Chŏng Yak-yong balanced and combined them with rhetorical discourses of fengci(풍자,讽刺)? And what Chŏng Yak-yong understood the rhetoric of fengci offered the open end for the future development of understanding the tradition. Chŏng Yak-yong was one of Korean traditional scholars in late Chosŏn dynasty and through his commitments the fengci in the Book of Odes, I tried to dignify Chŏng Yak-yong’s assumption to image of Korean state confronting the influence of western practical learning and western Catholic religion. Chŏng Yak-yong through his commitments rhetoric of fengci in the Book of Odes rebirthed the traditional thoughts with new contents under the influence of western practical learning. His ideology of state of Korea was based on the traditional text knowledge, meanwhile combined western practical knowledge to build Korean new specific knowledge essence of morality, value and the emotion of public of Koreans, revealing and realizing the power of the state. Even more, his understanding of the fengci in the Book of Odes was based on fengci’s social critical function, associating with Korean traditional ethic value of humanism, rebuilding the essential nature of ruler and noble to the public, which was proper to the current political domination of monarch system. Additionally, the discourse of fengci contained in the Book of Odes would have its literature meaning as poems to the society and political domination. This thesis would find the way that fengci as the rhetoric that how its discourse related the society, politics and literature as an integrated system in monarch late Chosŏn period. / text
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詩經存古史考辨--詩經與史記所載史事之比較潘秀玲, PAN, XIU-LING Unknown Date (has links)
詩經為我國最古之詩歌總集,其內容包括周代約六百年間的民間歌謠、士大夫作品以
及祭神之頌辭,生動且全面地反映了當時現實生活的種種情形與古代歷史文化脈動的
軌跡.既有經學與文學的價值,又蘊藏著豐富的政治 社會 經濟 宗教等各方面的
資料,是一部提供後人探索古代史實與社會情況的珍貴史料.
司馬遷撰史記,亦認為詩經具備豐富的史料價值,並且多所取材.然因二者體裁不同
,寫作方式與目的亦異,因此在保存古史資料原貌與經過史識整理兩層系統的表現上
,便各有短長.若能取之相互對照,比較二者所載史事之異同,並補以其他有關資料
,定可窺見古史較信實可靠之面貌.
本論文即根據上述觀點,探求二書所敘古史之內容,考辨其異同.全文分六章完成.
第一章緒論,旨在說明本論文之研究動機、方法,並確定研究資料之範圍與時代.第
二章詩經與史記皆載之史事,羅列考辨二者皆述及之史事,分詩經略而史記詳者、詩
經本文可佐證史記者、詩經可與史記相對照者三節敘之.第三章史記所載引述詩經之
史事,將史記中引述詩經篇名、本文,或所謂詩人作刺之史事,分節敘述.第四章詩
經所載可補正史記缺失之史事,以詩經所載,補充矯正史記缺略或失誤之各項史事.
第五章詩經所反映之周代社會概況,分政治組織、教育設施、軍事戰備、農業情況、
禮樂制度、民情習俗六節敘述之,旨在說明詩經尚有豐富的社會史資料,以補充前三
章具體史實的考辨.第六章結論,根據前所論述,比較詩經與史記所載史事異同之處
,並勾勒周代社會之概況.
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L’usage de la figure rythmique dans l’analyse du procédé incitatif (Xing 興) : une méthode de lecture expérimentale pour le Shijing 詩經 / The application of rhythmic figure to the analysis of the incentive process (Xing 興) : an experimental method for reading The Book of Odes (Shijing 詩經)Liao, Shueh-Ying 11 June 2015 (has links)
La thèse a pour corpus le Canon des Poèmes (Shijing 詩經). S’appuyant sur l’étude de diverses interprétations des Poèmes, elle propose une application numérique pour interpréter le procédé incitatif (Xing 興) qui, jusque-là, n’a pas été clairement défini au plan rythmique. On y considère le sinogramme à la manière d’une note musicale, ou plus précisément d’une sino-syllabe (hanzi -yinjie 漢字-音節). La thèse peut alors se baser sur trois principes d’analyse :1. le contraste d’effectifs des sino-syllabes ;2. le calcul combinatoire des sino-syllabes ;3. l’échelle de perception des sino-syllabes.En suivant ces trois principes d’analyse, la thèse expose une méthode de lecture expérimentale qui distingue deux aspects dans les sino-syllabes aperçues pendant la lecture : les composants fondamentaux (qui créent le rythme dominant) et les idées principales (qui constituent le sujet thématique). La collaboration harmonieuse du rythme dominant avec le sujet thématique, révèle un système de figuration qui transforme les propos en langage poétique sur le plan rythmique. Ce système sert de référence interne au corpus pour objectiver le rapport rythmique entre le motif initial (= premier groupe de vers) et le motif final (= deuxième groupe de vers), dans la strophe créée par le procédé de Xing. On propose de nommer ce système « figure rythmique » (jielü xiuci 節律修辭). / The present thesis has chosen to center its attention on The Book of Odes. After the study of diverse interpretations of these poems, the thesis is brought to suggest using numeric humanities in the analysis of what Xing calls “the incentive process” whose rhythmic figure has not yet been clearly defined. At the condition that a sinogram could be considered a musical note, it would be more accurate to call it a “sino-syllable” (hanzi-yinjie 漢字-音節). The results are relayed by these three principles: 1. The contrast of occurrences between sino-syllables 2. The sino-syllables’ combinatorial calculation 3. The scale of perception in comprehending sino-syllablesApplying these principles of analysis, the thesis then reveals an experimental method of reading which sets forth two aspects: the basic components that create the dominant rhythm and the mean ideas that constitute the thematic subject.The harmonious relationship of the dominant rhythm with the thematic subject reveals a system that rhythmically transforms words to poetic language. This metaphorical system, called “rhythmic figure” (jiulü xiuci 節律修辭) for the purpose of this research, serves as an internal reference to the corpus to manifest the rhythmic relationship between the first and final patterns in verses produced with Xing’s method.
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聞一多詩經學研究 / A Research into Wen-Ito's Studies on the Book of Odes侯美珍, Hou, Mei Chen Unknown Date (has links)
聞一多(1899–1946)是詩人、學者,晚年思想左傾,熱衷於政治運動,遭暗殺而死,又成為大陸至今頌揚的鬥士。因為政治的因素,臺灣方面,罕少有人留意聞一多;大陸熱烈頌揚的氛圍,往往也造成對聞一多學術研究評價的偏頗。本論文以聞一多的《詩經》學為研究的主要重心,企圖根據最新的史料,以客觀的立場來重估聞一多《詩經》學的成就。本論文從聞一多的學者角色辨析入手。以往的研究者受聞一多晚年自白的影響,混淆了學者與鬥士時期的角色。第二章裡,筆者從早期的書信考知,聞一多成為古典學術的研究者,純粹出於興趣、能力與生計的考量。本章除為其學者的角色重新定位外,並藉以突顯大陸學界研究聞一多的迷思。第三章至第五章,討論了聞一多廣為人知、影響較深,也是後來學者津津樂道的三個《詩經》學主題。第三章談聞一多援佛洛伊德性學說解詩的論點、立說背景,聞一多接觸佛洛伊德學說的經過,以及援性說詩的影響、得失。筆者認為此種解詩方法有開拓眼界之功,但恐過於相信佛洛伊德性學說的科學性,導致在文本的閱讀有所不足,缺乏思辨,其說多有附會。第四章辨正聞一多的《詩經》時代嫁娶正時論。毛、鄭等學者或主秋冬、或主仲春為嫁娶正時,聞一多異於舊說,以春、秋兩季為嫁娶正時。本章考察了舊說及聞一多的新論,以《春秋》經記載嫁娶四季皆有,且分布均勻等證據,而定《詩經》時代應通年聽婚。第五章專論〈詩•新臺鴻字說〉一文。〈新臺〉「魚網之設,鴻則離之」的「鴻」字,舊解為鳥名,聞一多以為當解為蟾蜍。此說甚為風靡,許多學者都捨舊解而信從聞一多之論。透過對聞一多論點的辨析,筆者以此說無法通解古籍,且聞一多所論證據薄弱,故不可驟信,當依舊解釋作鳥名為宜。第六章結論,重申筆者在緒論中強調的客觀立場。聞一多的《詩經》研究成果,不愧為一大家,然也受到當時大膽、率斷的學風影響,而有失謹嚴。郭沫若「前無古人,後無來者」的誇獎,實過於溢美;後學必須以考而後信的態度,批判地繼承聞一多之創說,方是正途。
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「詩」在周代政治傳播中之應用及其媒介性格之演變彭武順, PENG, WU-SHUN Unknown Date (has links)
就文學角度而言,「詩經」是古代歌謠之總集;從經學立場來說「詩經」是儒家治平
的寶典。前者偏重其抒情本質,後者則強調其政治意涵。同指一部古籍,或以為喜恕
哀樂之所發,或以為倫理政教之所本,其中似有不能相容之處。推考其實,則事或不
盡然。蓋文學束質中,早已隱含抒情與美刺二元因子之同時並存,爾後彼此之消長起
伏,則隨時世而有所遷移;「詩」自不例外,其與歷史文化發展之因緣,亦有清楚的
脈絡可尋。
從先民節慶祭祀場合的激烈舞踊謳呼,到早期歌謠的吟唱諷誦,顯示一自然演化的趨
勢;此一淵源關係,可以從現存詩篇所殘留之原始樂舞痕跡裡,得到充分說明。
從里巷的文學性歌謠,發展至貴族的政治性詩篇,則有其人為制作之深意在:或於宗
廟祀享之時,為樂工瞽矇所歌奏;或於燕飲酢之餘,為君臣賓主所吟唱;或於應對周
旋之際,為大夫卿士所稱引。要皆藉以為表意之媒介,使用之時機固不盡同,但均不
色帶有濃烈之政治色彩。以此下逮戰國之世,更衍成儒者興觀群怨,事父事君之教;
於時,「詩」之媒介性格又為之丕變。
推「詩」之所以自民間進入貴族,復於此上層社會中呈現種種不同之面貌,一則由於
此一表意媒介本身性格即允許相當之彈性;再則,當時特有之政治及文化背景,亦直
接、間接地促成此一改變。本文的研究,即欲就「詩經」、「左傳」、「國語」及相
關之文獻史料中,探索「詩」從歌謠世界步上政治舞台之過程,並掌握此一媒介在歷
史文化潮流底下所發生的性格演變。
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