具體描述
Stephen Owen is James Bryant Conant University Professor, Emeritus, at Harvard University.
“Song Lyric,” ci, remains one of the most loved forms of Chinese poetry. From the early eleventh century through the first quarter of the twelfth century, song lyric evolved from an impromptu contribution in a performance practice to a full literary genre, in which the text might be read more often than performed. Young women singers, either indentured or private entrepreneurs, were at the heart of song practice throughout the period; the authors of the lyrics were notionally mostly male. A strange gender dynamic arose, in which men often wrote in the voice of a woman and her imagined feelings, then appropriated that sensibility for themselves.
As an essential part of becoming literature, a history was constructed for the new genre. At the same time the genre claimed a new set of aesthetic values to radically distinguish it from older “Classical Poetry,” shi. In a world that was either pragmatic or moralizing (or both), song lyric was a discourse of sensibility, which literally gave a beautiful voice to everything that seemed increasingly to be disappearing in the new Song dynasty world of righteousness and public advancement.
用戶評價
談不上解構，隻是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「錶演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only young teenagers.” 接著引「幾換青春，倦客紅塵。長記樓中粉淚人」，不正是「各人有各人應得的眼淚」。
評分 評分談不上解構，隻是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「錶演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only young teenagers.” 接著引「幾換青春，倦客紅塵。長記樓中粉淚人」，不正是「各人有各人應得的眼淚」。
評分 評分##鮑勃迪倫獲得諾貝爾文學奬，最重大的意義是，文學的疆域被拓展瞭。宇文所安的這本《隻是一首歌：中國11世紀至12世紀初的詞》，如果用比對，那麼寫的就是詞如何從勾欄瓦肆中被妓女所唱到成為重要的文學作品的過程。這裏麵重要的兩個人物，即是大傢耳熟能詳的柳永和蘇軾。 柳永的...
評分##鮑勃迪倫獲得諾貝爾文學奬，最重大的意義是，文學的疆域被拓展瞭。宇文所安的這本《隻是一首歌：中國11世紀至12世紀初的詞》，如果用比對，那麼寫的就是詞如何從勾欄瓦肆中被妓女所唱到成為重要的文學作品的過程。這裏麵重要的兩個人物，即是大傢耳熟能詳的柳永和蘇軾。 柳永的...
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