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    題名: 六朝之江南及其文學 : 以香草、山水與歸魂為主
    其他題名: JiangNan literature over Six Dynasties : particular emphasis on plants, landscapes and spirits in works
    作者: 陳頤真;Chen, Yi-zhen
    貢獻者: 淡江大學中國文學系碩士班
    鄭毓瑜;崔成宗
    關鍵詞: 六朝;江南;香草;山水;歸魂;Six Dynasties;JiangNan;Plants;Landscapes;Spirits
    日期: 2006
    上傳時間: 2010-01-11 05:12:22 (UTC+8)
    摘要: 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。
    第一章處理六朝前歷史方志中所記載的江南。試圖從地理、氣候、疾病、風俗等方面探尋江南予人的印象為何,試圖建構一種既具系統性又富物理性的解釋;從而發現由氣候及風俗所塑造而出的印象,保存在六朝文學中。
    第二章以東晉、劉宋、蕭齊、至梁朝此四朝之歷史為主,藉由掌握歷史時空以明瞭歷史對文學之影響為何。發現社會階級地位之升降,引起宮廷內對民歌的好尚,間接影響五言詩之形式;再者,文人隨著府主遷徙而增添遷移之頻率,遂而直接導致山水詩大興。
    第三章由歷史回到文學,探索文學上「江南」的緣起及屈式風格,並發現此風格與歷史社會空間構築出的「江南」不同,反而越來越朝向心靈的「江南」靠攏;而心靈空間得以朔造成功,既是得力於香草之助,又緣於復禮儀式之啟發。
    第四章以謝靈運、江淹與謝朓的五言山水詩為主,對照左思的〈吳都賦〉,從徵實與親臨的角度,探討主觀情志的山水詩,假若配合歷史身世,必發現地圖上浮現出各自獨特之生命旅程。
    第五章藉由梁末沈炯〈歸魂賦〉、庾信〈哀江南賦〉及顏之推〈觀我生賦〉,從歸魂、回憶與自我,詮釋創傷記憶與身心南北離合的問題,並從中看出彼此的承襲關係,也比較出三篇辭賦風格或是回應屈式的江南詠歎,或是增添連屈原也沒經歷過的梁末動盪。
    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.
    顯示於類別:[中國文學學系暨研究所] 學位論文

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