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|Other Titles: ||A comparative study of Ci poetry between Chin-Guan and Li-Chin-Zhao|
|Authors: ||呂宜芳;Lu, I-Fang|
呂正惠;蘇敏逸;Lu, Zheng-Hui;Su, Ming-Yi
|Keywords: ||秦觀;李清照;宋詞;淮海詞;漱玉詞;婉約;Chin-Guan;Li-Chin-Zhao;Ci Poetry;Huaihai Ci;Zhuyu Ci;Wanyue|
|Issue Date: ||2011-12-28 18:43:16 (UTC+8)|
Chin-Guan and Li-Chin-Zhao were both representative of Wanyue ci poetry, poems of delicate restraint. Their ci poetry was notably admired and praised by later generations and left an indelible imprint in history. The former inherited the past and ushered in the future, making ci poetry at this point change, while the latter created the Yi-An Style by herself and was dubbed “queen of ci poetry.” This thesis chooses Chin-Guan and Li-Chin-Zhao as the objects of study and makes use of statistics, induction, and analyses to compare the creation content and artistic styles of their works according to their life experiences, personalities and political backdrop and to contrast Chin-Guan’s femininity and Li-Chin-Zhao’s masculinity.
With comparative methods, the thesis will first introduce the influences the ci poets’ historical background and individual experiences have on their creation. Then, the thesis will present the themes, techniques and style characteristics of these two ci poets. Next, the thesis will refer to Lidai cihua, ci poetry of all of the past dynasties, and numerous scholars’ research results and compare the difference and sameness of the two ci poets of the Wanyue School.
Chapter 1 expounds the research motive and research purpose. Chapter 2 introduces their creation backgrounds, life experiences, personalities, literary circles’ established practices and political environments. Chapter 3 respectively describes their topics and content, investigates the thoughts and emotions the two ci poets wanted to express and consults different opinions of scholars on Huaihai Ci Poetry and Zhuyu Ci Poetry over the past years to interpret their emotional shifts. Chapter 3, therefore, attempts to have a comprehensive horizontal analysis of ci poets’ preference for subject matter content and to make a vertical inquiry through ci poets’ life experiences, temperament, and self-restraint. Chin-Guan’s and Li-Chin-Zhao’s ci poetry have been highly lauded by men of letters and refined scholars for the past dynasties. Their superb skilled artistry is worthy of research. Chapter 4 delves into artistic performance skills and analyzes wording, techniques of writing, allusion, imagery, discourse structures in detail. Why they both were masters of the Wanyue School and how they expressed the feminine delicacy of ci poetry are discussed. Furthermore, their respective strengths and successful qualities, the artistic ideation and the appearance ci poetry revealed are all examined in hopes of finding the two ci poets’ similarities and dissimilarities. In terms of promoting the development of ci poetry, Chin-Guan and Li-Chin-Zhao have built an immortal milestone. Chapter 5 discusses the status and influence of these two ci poets who had inherited from predecessors and inspired those who came later. Additionally, I will wrap up the above chapters and draw a conclusion according to Li-Chin-Zhao’s Ci Poetry Theory, where she commented on the gain and loss as well as the self-creation practice of Chin-Guan’s ci poetry.
|Appears in Collections:||[Graduate Institute & Department of Chinese] Thesis|
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