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    Title: 宋初律賦初探
    Other Titles: The study of Lu Fu in the early Song Dynasty
    Authors: 劉泰江;Liu, Tai-chaung
    Contributors: 淡江大學中國文學系碩士班
    崔成宗;Tsui, Cheng-tsong
    Keywords: 律賦;宋代;Lu-Fu;Song-Dynasty
    Date: 2010
    Issue Date: 2010-09-23 17:14:27 (UTC+8)
    Abstract: 一、研究目的:
    本文擬從歷代賦學審美意識中,觀看宋初律賦的內容。包括破題、音律、對偶,以及影響宋初律賦主題的因素。

    二、研究範圍:
    時間上,由宋太祖趙匡胤陳橋兵變,建年號建隆元年(960)開始,歷太宗、真宗,至宋仁宗親政的明道元年(1032)止,作為本文時間的依據。
    文本的選擇,此時期文士所撰寫的律賦,無論是應制之作、科舉考試之律賦,或是習作等,都是本文討論的範圍。然本文以單篇律賦為主,吳淑著《事類賦注》一百篇雖皆屬律賦,然因其為類書,且意義獨具,當另以專書論述。
    依作者生年及登進士第的順序,參閱《現存宋人著述總錄》、《全宋文》、《歷代賦彙》,共錄律賦一百一十六篇。

    三、研究方法:
    律賦常為後人所詬病,筆者由傳統賦學的審美觀,自漢賦、曹丕《典論‧論文》、陸機《文賦》、鍾嶸《詩品》,賦的審美意識皆與各時代的文風及流行文體或政治風氣有所相涉,至劉勰《文心雕龍‧詮賦》篇,將賦體的特色獨立,也確立了名為賦體所該擁有的價值。
    將傳統的審美意識帶入律賦中,探討宋初律賦是否合乎賦的標準,便是本文所著重的。其次則是在宋代初年的政治風氣及文學風氣中,律賦何以成為科舉考試之要項。本文將由演繹方式,例舉代表宋初律賦之作家,羅列以證宋初律賦之特色。

    四、研究結論:
    筆者認為律賦之美,不僅是因其題下限韻,因難而巧。更難能可貴的是律賦的破題、對偶及音律之美,讀之錯落有致,更添美感。希望本文可作為拋磚引玉之效,使律賦復其文學之地位,也可由本文得知宋初律賦與唐代及後世律賦的獨特之處。
    Abstract:
    The purpose of the study:
    This study is trying to analyze the content of Lu Fu in the early Song dynasty, including its introductory, rhythm, symmetry and the theme of the verse.

    The scope of the study:
    The research materials are selected within four kingdoms period, Emperor Taizu, Emperor Taizong, Emperor Zhenzong and Emperor Renzong, from 960 B.C. to 1032 B.C.; and the contents are chosen from imperial examinations in former times and personal practice writing. Although this study is focusing on independent Fu, Shi Lei Fu Ju, a very important work, written by Shu Wu is a tool book consisting a hundred correlated Fu which can not be left out when discussing Fu in this study.
    Total 116 Fu are picked in this study and according to Comprehensive Index of Extant Works by Song Persons, Chuan Song Wen and Li Dai Fu Lu, those pomes are listing by year of author’s birth or year that a author success in the highest imperial examinations.

    Methodology:
    This study makes generality comments on Lu Fu in Early Song dynasty based on traditional aesthetic and literary criticism book, for example Han Fu, A Discourse on Literature by Pi Cao, Wen Fu by Ji Lu and Shi Ping by Ron Chung. The aesthetic on Fu was changing by the literature trend and the political situation in different dynasty. Until the first work of aesthetics and also the first systematic work of literary criticism, The Literary Mind and the Carving of Dragon by Xie Liu, Fu formed a unique characteristic and style of its own and became a major poetic genre.
    Comparing to the former aesthetic views to look for if Lu Fu match to the traditional criterion is the key emphasis in this study. The second, this study is trying to find out why Lu fu became a main stream in the imperial examination in the Song dynasty. This research using the approach of natural deduction, brining up several famous writers to proof the magnificent features of Lu Fu.

    Conclusion:
    The limitation of rhyme scheme makes Lu fu very difficult to compose, but the perplexity of Lu Fu brings out the true beauty within the verse. Furthermore, when reading a Lu Fu, readers can appreciate the beautiful introductory, symmetry and rhyming pattern of it. Hoping through study, Lu Fu can be rehabilitated its reputation and status in Chinese literature history.
    Appears in Collections:[中國文學學系暨研究所] 學位論文

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