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Ten Yuan dramas on stories from the Water MarginLiu, Jingzhi, 劉靖之 January 1982 (has links)
published_or_final_version / Chinese / Doctoral / Doctor of Philosophy
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元曲小令譜別體例釋黃炫國, HUANG, XUAN-GUO Unknown Date (has links)
本論文主要之目的在了解小令之格式,以便嘗試創製小令,共分一冊,九萬餘言,茲
概述各章內容如下:
第一章:「緒論」共分二節,第一節略述研究動機、方法與討論範圍,第二節探討令
之特色及種類。
第二章:「小令之格律」共分二節,第一節探討小令之聲律及□律;第二節深討小令
之字怐,其中包括襯字、對偶、務頭之運用。
第三章:「元曲小令譜別體例釋」訂作十個宮調內一百二十餘種牌之元令譜,其製作
方法如下:先收集宜於作小令曲牌之部分元人小令,根據這些小令,逐一勘對,比較
歸納,然後作成定論,除了常用之格(即正體)以外,若干變例亦一起併列,並加以
說明。
第四章:「結論」對本論文研究重點作一總結。
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Chang Te-hui and his journey to Qaraqorum at the summons of Qubilai QanSontag, Richard Marton, 1947-, Sontag, Richard Marton, 1947- January 1978 (has links)
No description available.
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HUANG,Kung-wangs' Poems Inscribed onLandscape PaintingsChen, Chien-hui 10 September 2007 (has links)
Poems inscribed on paintings combine poems and paintings closely together. They are artistic fusion of poetry and painting. A poem inscribed on a painting usually serves as a window to the painting to point out, bring about and deepen the meaning of the painting. Hence, poems inscribed on paintings characterize themselves as overlapping the boundaries between literature, painting, landscape poetry and landscape painting.
A poem inscribed on a painting not only displays the form of landscape through the painting but also expresses the meaning of the painting and reflects the poet's mind as well. The combination of landscape poetry and landscape painting reached the summit in the Yuan Dynasty when lots of poems inscribed on paintings emerged to express the art of painting through the art of poetry.
Further combination of poetry and painting first appeared in the works of HUANG, Kung-wang, who was a famous poet and painter in the Yuan Dynasty. Among the "Four Masters of the Yuan Dynasty", HUANG enjoyed the highest achievements in art and remarkable accomplishment in the creation of poems inscribed on landscape paintings, which exerted an enlightening, deep and long-term influence on the art and literature of the successive Ming and Ching Dynasties.
HUANG, Kung-wang's poems inscribed on paintings can be divided into two categories - "poems inscribed on others' paintings" and "poems inscribed on his own paintings". The former represents the poet's (HUANG, Kung-wang's) perception and appreciation of a painting through his own cultural discipline and aesthetic taste and the subsequent creation of a poem to bring about the meaning of the painting. The latter provides the background of his (HUANG, Kung-wang's) creation of poems and gives hints to the inner implications of his paintings and his ideas and appreciation of painting, aiming to achieve the state of "perfect fusion of poetry and painting" through poetry-painting interaction. So, whether "poems inscribed on others' paintings" or "poems inscribed on his own paintings", the poet (HUANG, Kung-wang) have successfully introduced readers to painting and showed them how to enjoy the fun and meaning behind painting.
Poems inscribed on landscape paintings use paintings as materials, so the existence of landscape images embodies a visual space. However, the creation of both poetry and painting most addresses the link between, or rather, the fusion of scenery and emotion. As a result, while appreciating a painting with a poem inscribed on it, we had better not limit our view to forms and structures. In stead, HUANG, Kung-wang's approach of appreciating a painting is much recommended. With excellent mental training and great imagination, the scenery of mountains, rivers, clouds, villages, pavilions, or even a blank space on the painting could turn out to be an entire season, life, nature or universe for the mind to enjoy eternally.
Besides, HUANG, Kung-wang's poems inscribed on landscape paintings particularly emphasize mental growth and pursuits. It is believed that reading, religious discipline, reclusion, travel and personal integrity can help improve the level of art and literature creation. HUANG, Kung-wang had never learned painting until he was 50. His case is a good example of the Chinese saying, "A great vessel will be long in completion; a great man will take time to shape and mature." In terms of Chinese painting, it means that only through multiple training and discipline can an artist demonstrate a unique style.
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Taoist influences on the drama of the Yuan dynasty, 1279-1368何秀蘭, Ho, Sau-lan. January 1985 (has links)
published_or_final_version / Chinese / Master / Master of Philosophy
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A critical study of supernatural elements in Yuan drama曾慶慈, Tsang, Hing-chi. January 1990 (has links)
published_or_final_version / Chinese / Master / Master of Philosophy
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A study of minor comic characters in Yuan drama文秉懿, Man, Bing-yee. January 1993 (has links)
published_or_final_version / Chinese / Master / Master of Philosophy
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A critical study of the love theme plays of the Yuan dynasty, 1279-1368馮瑞龍, Feng, Ruilong. January 1988 (has links)
published_or_final_version / Chinese / Master / Master of Philosophy
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A study of the image of singsong girls in Yüan drama潘步釗, Poon, Po-chiu. January 1994 (has links)
published_or_final_version / Chinese / Master / Master of Philosophy
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元雜劇歷史戲之研究鄭義源, ZHENG, YI-YUAN Unknown Date (has links)
本論文凡分五章,約八萬字.
研究動機及方法:以一個外籍生的立場來看,我覺得中國古典文學最具偶特色的是「
一代有一代之文學」.依此而言元代的代表文學就是雜劇.在現存一百六十多種元雜
劇作品中,以依據歷史故事而編成的戲劇特別多.研究元代歷史劇可說是窺知整個元
雜劇的基礎.另外,筆者也一向對歷史故事和戲曲方面存有高度的興趣.這是促使筆
者以此為題撰寫論文的動機.
本論文綜合整理至今為止的有關歷史劇個別作品的研究論文,並加入個人的見解.首
先筆者修正從前學者普遍偏重研究曲文、曲律的傾向,而著眼於歷史劇作品本身具有
的各種主題思想,同時又重視作品情節和歷史人物塑造的特色,茲略述各章內容大要
如下:
首章:先論述歷史劇的定義.本論文所謂的歷史劇則是專以正史為依據,舉凡劇中主
要人物和關目必須有史可稽,以達到「史有其人,人有其事」的條件.其次再論述已
分類好的歷史劇三十一篇之劇目及版本.
二章:本論文所選評的歷史劇共三十一本,本章將先做簡單的敘錄.在每一本作品的
敘錄之後,附帶其歷史故事情節之來源及人物事件與史實之異同,以便以後的討論.
三章:敘述歷史劇的主題思想.文學作品與時代環境關係密不可分,尤以戲曲文學為
然.元人所寫的歷史劇不僅是搬演古人的故事,而且往往是借古鑑今,充滿著憤慨之
情,諷諭之意,把身受蒙古人壓迫的一股憤恨,盡情流瀉.換言之,這些歷史劇並不
是簡單的再現歷史,而是概括了作者對現實生活的體驗和感受.本章主傲考察每本歷
史劇作品□直間接表現的各種主題思想.
四章:敘述歷史劇本身具有的完學技巧.分別從情節布局、人物塑造技巧、歷史劇特
有的辭采諸方面來探討.
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