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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/34362

    Title: 六朝之江南及其文學 : 以香草、山水與歸魂為主
    Other Titles: JiangNan literature over Six Dynasties : particular emphasis on plants, landscapes and spirits in works
    Authors: 陳頤真;Chen, Yi-zhen
    Contributors: 淡江大學中國文學系碩士班
    Keywords: 六朝;江南;香草;山水;歸魂;Six Dynasties;JiangNan;Plants;Landscapes;Spirits
    Date: 2006
    Issue Date: 2010-01-11 05:12:22 (UTC+8)
    Abstract: 從〈招魂〉:「魂兮歸來哀江南」開始,文學上首度出現「江南」此語,然所謂的「江南」所涵括的地理空間、文學表現及文人筆下的「江南」情調有何殊異?遂成為筆者之研究動機,在結構上,前兩章處理歷史,後三章從香草、山水與歸魂三方面探討。
    The word “Jiangnan” first appears in Chinese literature in the line “My spirit returns to grieve over Jiangnan” in the poem “Beckoning the Soul” But what geographical region, literary meaning, and authorial sentiment does this term connote? This thesis undertakes to resolve these questions. The first two chapters approach the issue from a historical angle; the following three chapters endeavor to solve the question by examining plants, scenery, and the return of the soul.
    Chapter one explores Jiangnan as it is described in local gazetteers from the early Six Dynasties period. By examining the geography, climate, illnesses, and customs of this region, I offer a systematic analysis, grounded in physical data, that explains the impressions Jiangnan had of this region. These impressions are discernable in the literature of the Six Dynasties.
    Chapter two, focusing on the history of the Eastern Jin, Liu Song, Xiaoqi and Liang dynasties, interrogates the impact of history on the literature of this period. Social unrest led the court to endorse popular song and this indirectly influenced the production of poetry with five characters to a line (wu yan poetry). Additionally, as the seat of government moved from place to place, the migration rate of literati also rose. This directly caused landscape poetry to flourish.
    Chapter three returns from history to literature and examines the origins of “Jiangnan” in literature going all the way back to Qu Yuan. Here we discover that the literary images of Jiangnan differ significantly from the historical and social constructs of the region (examined in chapters one and two). Literary representations of Jiangnan tend to be linked with spirituality; they depend on depictions of local flora that relate symbolically ethical enlightenment.
    Chapter four revolves around the wu yan (five character line) landscape poetry of Xie Lingyun, Jiang Yan, and Xie Tiao and compares these poems with Zuo Si’s “Fu on the Capital of Wu” Here, from the perspective both of historical evidence and of personal experience, we explore what happens when subjective landscape poetry is matched with personal life experience. We find that the geography before the poet’s eyes takes on the unique character of the author’s life journey.
    Chapter five interprets the bodily and psychological trauma caused by the political separation of North and South China. Through the lens of poems by three late Liang dynasty poets, Shen Jiong, Yu Xin,and Yan Zhitui, this chapter focuses on the themes of the immortality of the soul, memory, and the self, and permits an inside view of the mutual influences across geographic regions, North and South. It shows that the three poems analyzed, Shen Jiong’s “Rhapsody on the Return of the Soul,” Yu Xin’s “Rhapsody of Mourning for Jiangnan,” and Yan Zhitui’s “Rhapsody Observing my Life,” either manifest Qu Yuan-style laments over “Jiangnan” or actually add to the social upheaval prevalent during this time, unrest that even Qu Yuan did not experience.
    Appears in Collections:[中國文學學系暨研究所] 學位論文

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