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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/92202

    Title: 談卞之琳詩歌中的沉思者形象
    Other Titles: Discusses in the Meditator Image of Bian Zhilin's Poetry-Taking "Several People," "The Heart of the Old City," "White Spiral Shell" as Examples
    Authors: 李蕙如
    Contributors: 淡江大學中國文學學系
    Keywords: 卞之琳;詩歌;沉思者;Bian Zhilin;poetry;the meditator
    Date: 2011-12-01
    Issue Date: 2013-09-13 22:54:39 (UTC+8)
    Abstract: 卞之琳(1910-2000),江蘇海門人。幼年於私墊勤習古書,幼年入北京大學英文系,畢業後到濟南、保定等地教書,並且參與編輯《水星》、《新詩》等刊物。在詩歌創作中,吸納中國傳統詩學以及西方瓦雷里、艾略特的詩學養分,融入自身獨特的審美體驗,並加以選擇、轉化,而在中國新詩的發展史上具有一定的地位。著有詩集《三秋草》、《魚目集》、《漢園集》、《合刊》、《慰勞信集》、《十年詩草》、《雕蟲紀歷》及翻譯等多種。就其詩作而言,常以平凡的意象凝定宇宙的覺識,並開拓智性的詩美。今則以〈幾個人〉、〈古城的心〉、〈白螺殼〉三詩為例,探究其中場景的塑造、敘述主體的動作呈現,發現卞之琳在應對世界與外在世界的關係時,非注意浮華的表象,而是注重內在的呈現。此外,沉思者的動作是固定的,然而,在其他人物動作的對比下,從群體的意識中剝離出來的個體性意識,沉思動作的意涵則得以顯現。而且,從不同的敘述主體展現出情感的起落,直接抒情變成客觀敘述,則能體現冷靜且非個人的普遍經驗,並呈現出戲劇化、小說化的特性。綜上所述,以勾勒出卞之琳詩作中的沉思者形象。
    Bian Zhilin (191 0-2000), was born in Jiangsu Haimen. In 1929, he entered the English department of Beijing University to study, after the graduation, he was teaching at Jinan, Baoding, and was involved in editorial work of magazine Mercury, New Poems etc. Bian Zhilin's creation of poetry was influenced by Verlaine and T.S. Eliot, but with unique style of his own, his poetry has great influence on Chinese poetry. His works include: Leaves of Three Autumns, Fish Eyes Collection, Han Park, A Selection of 10 Years' Poetry, Combined issue, Consolation Letter Collection, Records of Carved Insects, and translation works, etc. This article takes "Several People," "The Heart of the Old City," "White Spiral Shell" as Examples, inquired into the creation of scene, and He pays great attention to the intrinsic present instead of its ostentatious appearance as he faced the external world and the internal world. In addition, meditator's movement is fixed compared to people's movement, thus the individual consciousness is shown. A shift from subjective to objective poetic statement, which implies a move from first-person to third-person narrative voice, from personal to impersonal, this form was ostensibly shown to be dramatic feature.
    Relation: 華文文學與文化 創刊號,頁P123 - 143
    Appears in Collections:[中國文學學系暨研究所] 期刊論文

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