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    Title: 唐代詩格聲律論研究
    Other Titles: A study on the theory of the tonal patterns in the regulated poetry of Tang dynasty
    Authors: 劉若緹;Liu, Jo-Ti
    Contributors: 淡江大學中國文學系博士班
    陳文華
    Keywords: 唐詩,詩格;聲律;四聲聲調;八病;the poetry of Tang Dynasty;Poetry Forms;Tonal Patterns;Eight Faults
    Date: 2011
    Issue Date: 2011-12-28 18:43:08 (UTC+8)
    Abstract: 本文透過對唐代詩格的研究以探求唐代詩歌聲律形式的形成與變化,和足以影響這些外在形式特徵的相關因素。論文共八章節,研究唐代詩人通過何種方式去實踐詩歌的審美功能。就聲律格式而言,唐代詩人是通過怎樣的歷程?經過怎樣的組合變遷?是藉由怎樣的方式?才逐漸找到控制漢語的節奏關鍵?並得以完成這種形式的審美原則。
    唐代詩格在詩歌律化中的聲調、協韻、句式等指標上均有具體的指導與規範,本文第一章為緒論,說明本文的研究動機與目的、研究的範圍與限制、前行研究的回顧與討論及本文的研究方法及步驟。第二章為唐代詩格概述,包括唐代詩格的名稱、內容、意義及流傳情況等概述。第三章為聲律論及四聲聲調論,分析聲律論的歷史背景、演繹脈絡以及四聲聲調的性質及分化。第四章為八病論,分條辨析八病內容及形成律詩的聲調推演。第五章為調聲論,探討唐代詩格中的調聲之法及調聲之後所訂定的聲律法式。第六章為用韻體式,分析唐代詩格中的關於用韻的體式。第七章為句式論,研究以聲律為基礎之下詩格中句讀及句中的用聲法式。第八章為結論。
    漢語獨特的單音節語音結構,使我們所熟知的律詩格律形式,在規格化形式之下,潛在著漢語聲律的本質結構。唐代詩格聲律論中對於平仄、聲調材料豐富,論述細密,可與語言學相互為用,這一點在前述的論著中尚未有人提及。當研究回到唐代的詩學理論,我們可發現詩格的聲律論不僅是一種作品實踐後研究現況及方法,也是一種將抽象聲音概念具體理論化的演繹過程。
    This dissertation is a study on the regulated poetry of Tang Dynasty. It explores the formation and change in the tonal and structural patterns of the poetry of Tang Dynasty as well as the factors that have impact on these external formal characteristics. The dissertation consists of eight chapters and explores the methods Tang poets applied to realize their poetic aesthetics. Regarding tonal and structural patterns, what process did the Tang poets go through? What is the history of its combinations and how did it occur? How did they discover the essential rhythmic factors that dominate Chinese and the dominant aesthetic principles that achieved this formation?
    The regulations of the poetry of Tang Dynasty give specific instructions and regulations with respect to tonality, rhyme and line structure. The first chapter, Introduction, states the motivation, purpose, range and limit of the study, literature review and research methods and process. Chapter two, An Overview of the Form of the Poetry of Tang Dynasty, includes the names, content, meaning, circulation of the forms of Tang poetry. Chapter three consists of the theory of tonal patterns and the four tones. It analyzes the historical background and context of the theory of tonal patterns as well as the nature and differentiation of the four tones. Chapter four, the Theory of Eight Faults, lists and analyzes the Eight Faults and the change of tonal patterns in the formation of eight-line poems. Chapter five, On Tonal Adjustments, explores the methods of tonal adjustment in the poetry of Tang Dynasty and the resulted formula. Chapter six, Rhyming Patterns, analyzes the rhyming patterns in the poetry of Tang Dynasty. Chapter seven, On Line Structures, studies the punctuation and the tonal patterns within lines based on the theory of tonal patterns and chapter eight is the conclusion.
    The unique monosyllabism in Chinese conceals the hidden, essential tonal structure, which can be detected within the widespread form of eight-line poems. The ample resources and detailed treatise on tonal patterns in the theory of tonal patterns of the poetry of Tang Dynasty could be applied to compliment linguistic studies. This aspect has not been covered by aforementioned discourses. When the research trend comes back to the poetics of Tang poetry, we find that the theory of tonal patterns in poetry is not only a practical method resulted from practice and research but also a deductive process to make abstract sounds into specific theories.
    Appears in Collections:[中國文學學系暨研究所] 學位論文

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